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We come to you now with revelations about last week's attck in London. An anonymous source provided this video. It shows Quentin Beck, aka Mysterio, moments before his death. A warning, you may find this video disturbing. Quentin Beck: I managed to send the Elemental back through the rift but I don't think I'm gonna make it out of this bridge alive. Spider-Man attcked me for some reason. He has an army of wapon drones, Stark technology. He's saying he's the only one who's gonna be the new Iron Man, no one else. Edith: Are you sure you want to commence the drone attck? There will be significant casualties. Spider-Man : Do it. Execute them all. This shocking video was released earlier today on the controversial news website TheDailyBugle.net. J Jonah Jameson: There you have it, folks, conclusive proof that Spider-Man was responsible for the brutal mrder of Mysterio, an interdimensional warrior who gave his life to protect our planet, and who will no doubt go down in history as the greatest superhero of all time. But that's not all, folks. Here's the real blockbuster. Brace yourselves, you might wanna sit down. Quentin Beck: Spider-Man's real... Spider-Man's real name is... Spider-Man's name is Peter Parker. Spider-Man: What the f--- Jameson: That's right, folks. Peter Parker, a seventeen year old high school delinquent, harboring a homicidal... Crowd member: Are you Spider-Man's girlfriend? Are you Spider-Man's girlfriend? Crowd member: Spider-Man! - He's here! Spider-Man; Whoa, whoa, whoa. Please don't touch her. Crowd member: You're just a kid? You mrder Mysterio? You helped him mrder Mysterio? Spider-Man: No, I... I didn't... Whoa, whoa, whoa! Crowd member: He ht me. Spider-Man ht me! He ht me. Spider-Man ht me! Jameson: People looked up to this boy and called him a hero. I'll tell you what I call him: Public Enemy Number One! MJ: I don't ever wanna do this ever again! Spider-Man: MJ, I'm so sorry but I can't see anything with your hand in my... MJ: I'm sorry, I'm sorry. Okay, where are we gonna go? Spider-Man: I don't know. Your house. MJ: Oh, no! We can't go to my house. - My Dad will kll you! Spider-Man: What? I thought you said your Dad really liked me? MJ; Yeah, well, not anymore. Spider-Man:,Dude. Ned Leeds: Dude! Spider-Man Dude. Ned: Dude! Spider-Man: Dude! Ned: Dude! MJ: Dude! Spider-Man: What... I'm so sorry! - Are you okay? MJ: No, not really. Citizen: Yo, Peter! MJ: We should go. We should go. Come on. Spider-Man: But you said you don't wanna swing... MJ: You should just swing me. Yeah. Spider-Man: Okay. We can take the subway. MJ: Look out! That was so much worse. Okay. Spider-Man: Are you okay? MJ: Yeah. Yeah... Spider-Man: Come on, come on, come on. Ready? I'm so sorry. Happy Hogan: I just feel so dumb. I didn't realize you were miserable. May Parker: No, it was really fun, alright? You know, that's why call it a fling! - And we flung. Happy:,It was fine. I could've been more fun. I can be fun. MJ: We'll hang out again Happy: Like... when do you think? I should see what that is. May: No. No, no, no, no. Happy. Happy: It's what I do. May: He's always coming and going... Happy: Peter? - It's not... MJ: Peter? Oh. God. Peter... Peter: Oh, no. Oh, no. I don't know what to do! Happy: Peter... Oh. Oh, no. - We didn't see anything. Peter: This isn't what it looks like, Happy. - I'm sorry... May: Just practice safe... Peter: It's not what it looks like. May:,Oh, hey! You must be MJ! MJ: Nice to meet you. May: So nice to meet you. Peter: Wait, have you been crying? MJ: We broke up. Civilian: Hey, Spider-Man! Peter: Oh, uh... Thank you. I didn't know you guys broke up. I thought you were in love, May. May: No, we talked about this... Happy: I should probably leave, I think... Peter: I thought you guys were such a handsome couple... May: You know, it's really about boundaries... Peter: Oh... : Oh, hey, listen. Go in here. Happy: that the door? Tennant: Hey, is it true about... MJ : Not now! May: Just make yourself home... about sex, Peter. Peter: This has nothing to do with sex. Happy: God's sakes, it's the goal but if you wanna go over it again... I mean, I'm... Happy: What's that sound? Civilian: Hey, Spider-Man! Happy: I mean, I'm happy to rehash it if you want to. I just don't... Peter: Can you get off your phones for five minutes, I just wanna talk to you about your relationship, okay? MJ: Peter? Peter: What? Happy: Is that... - Is that here? I mean maybe it's not such a big deal. Jameson: Spider-Menace! Governments around the world launched investigations into the mrder known as Spider-Man, aka, Peter Parker, aka, the web-headed wr criminal, who for years has been terrorizing the decent citizens of New York. Well now, this city and the world see him for what he truly is. mrder! New details from last week's devastating attck in London have emerged. For more, we go now to Joint Intelligence Headquarters... ... who released just a short while ago confirms, that the deadly drones used in the London attck, were designed by Stark Industries. Agent Cleary: Federal agents! Open up! May: Federal agents? You stay here! Cleary: Department of Damage Control. We have a warrant for the arrest of Peter Parker. May: You know the fourth amendment? Cleary: Sure. May: Unreasonable search and seizure? Cleary: Get in here, guys. Let's go. Peter: I didn't kll Quentin Beck. The drones did. Cleary: The drones that are yours. Peter: No... Well, look... Cleary: Nick Fury was there the entire time. Just ask him and he can explain everything. Nick Fury has been off-planet for the last year. Peter: What? MJ, May: Peter! Peter: MJ! Uhh... They had nothing to do with it, sir! MJ: Don't say anything, we got a lawyer. May; Don't say anything, we got a lawyer. MJ: I want a lawyer. Cleary: Miss Jones-Watson... MJ: Jones. I don't go by Watson. Cleary: Miss Jones... Why do you want a lawyer if... MJ: I have nothing to hide? Cleary: Exactly. Unless... MJ: I'm actually guilty of something? I'm very aware of your tactics and my rights. Cleary: Just answer my questions. I've seen your file. You're a smart, young woman with a bright future ahead of her. Why would you risk it all by getting involved with a vigilante like Peter Parker? So sorry to keep you waiting. Can we get Ned a snack, please? He's been waiting. Dude, I'm so sorry about that. Ned: I'm not supposed to say anything to you. Cleary; No, Ned. Not even a thing. I just have one question... When MJ told you that Peter was Spider-Man... Ned: Whoa, whoa, whoa... Cleary: What's up? Ned: I knew way before MJ did. I was Spider-Man's guy in the chair. Cleary: Oh, I know about those. I mean, half the guys have guys in the chair. Ned: Exactly! You wouldn't know... I literally helped him find the Vulture. Cleary: I didn't know that. Ned: And I helped him hack his suit once, and kinda helped him get to Space. Cleary: So, in Spider-Man's illegal vigilanteism, you were his main accomplice. Ned: I would like to have my words strictly from the record. May: With all due respect, and I mean that very insincerely, unless you have some real specific charges to throw at us, legally, you can't hold us here. Cleary: You should definitely lawyer up. May: Excuse me? Cleary: Child endangerment is a nasty rap. The boy was entrusted to you, and as his legal guardian, essentially his mother, you not only allowed him to endanger himself, but you actually encouraged it. Who does that? May: I wanna see Peter right now. Stark Industries was caught in the web of the Spider-Man/Mysterio controversy today, when federal agents opened an investigation into missing Stark technology. The agents wanna know exactly what was taken... Happy: At least they used a good picture. Peter: That's great. Thank you. Matt Murdock: Well, I have some good news, Peter. I don't believe any of the charges against you are gonna stick. Peter: Wait, seriously? May: Oh, I knew it. Peter: Oh, my God, Mr. Murdock. Thank you. May: Yes. - Thank you, Matt. - That's amazing. Matt: Well, perfect. However... - Mister Hogan? Happy: Yes? Matt: The feds are actively investigating the missing technology. I understand you're loyal to Mr. Stark and his legacy, but if you were involved... Happy: If I was involved? Matt: I might secure a lawyer. Happy: I need a lawyer because I'm un... I'm under inves... I thought, you said, there's no charge. I could say under advisement of counsel, I refuse to answer the question respectfully because I... the answer could incriminate me. There's a saying in Goodfellas. What did they say in Goodfellas? May: I know, that's interesting... Calm down. Let's hear what he has to say. Matt? Matt: You're gonna need a really good lawyer. Peter, you may have dodged your legal troubles, but things will get much worse. There is still the court of public opinion. ( Window breaking) Peter: How did you just do that? Matt: I'm a really good lawyer. May: We're gonna need a safer place to live. Alarm systems, deactivated. It looks nice and.... safe. Happy: Welcome, to the spiritual oasis. You like Donkey Kong Jr.? Peter: Oh, Happy. MJ: Did you send in your applications yet? Peter: I literally just finished my MIT one. You? MJ: Same. Peter: Imagine if we both got in? - And Ned? MJ: Yeah, but... We have to take scholarships so we could actually go. Peter: Come on. You got good scores, and good grades, and... MJ: You think I'm being too pragmatic. Peter: No, no, no, no. Well... Kind of. That's okay. That's one of my favorite things about you. MJ: Really? Peter: Yeah. MJ: Well, what are your other favorite things? Peter: I love your relentless optimism. MJ: Yeah. I am a "glass half full" kind of gal. Peter: I really like how you're a people person. MJ: I love people. Love 'em... so much. Peter: You like sports. MJ: I think the Mets are gonna go all the way this year. Peter; Really? MJ: What's that noise? Peter: Oh. That's... that's Happy. Look. He gave his room to May, so he's sleeping down here. MJ: I have a weird question. Does any part of you feel relieved about all of this? Peter: Ever since I got bit by that Spider... I've only had one week, where my life has felt normal. Well, kind of normal, I guess. And... That was when you found out. Because then, everyone that was in my life that I wanted to know... you know. And it was perfect. But now everybody knows. And... I am the most famous person in the entire world... ... and I'm still broke. MJ: I'm... excited to see you tomorrow. Peter: Yeah, me too. Happy: Wrap it up. You both like each other. We get it. Hang up. There's no new ground being broken. Okay? I need my eight hours. Peter: Have you been listening this whole time? MJ: Hi, Happy. Happy: Not by choice. Peter: MJ says hi. Happy: Hello. Betty Brant: We're covering the first day of senior year for Midtown High's most famous student, Peter Parker! Go get 'em, Tiger! Or should I say, Spider? The crowd has continued to grow here all morning long at the Midtown School of Science... The crowd seems evenly divided between supporters of Spider-Man, and protesters. Crowd member: MJ! MJ, we love you. MJ, are you gonna have his spider-babies? Mysterio forever! mrder! Ned: Back off! Crowd member: Who are you? Ned: I'm Ned Leeds. I'm Spider-Man's... Flash Thompson: Peter Parker's best friend. You come at my boy? You come at Flash Thompson. You wanna read about our inspiring friendship? You can now from my new book, Flashpoint. One spider, two hearts, a million crazy-ass memories. Check it out. - Go. Go. go. go. Go! Peter: No, wait up... MJ: I'll see you inside, okay? Betty: Keep watching Midtown News all year as we bring you upclose and personal coverage of Peter fighting his biggest battle yet: college admissions. Peter. Julius Dell : We would love to... Welcome you back... To Midtown High. Where we shape heroes. Mr Harrington: Uh-huh. Coach Wilson; Or mrder. Mr Harrington: Stop it. It's an honor to serve you... -Sir. Coach Wilson: God! Mysterio was right. Mr Harrington: Stop. We don't... that's all. Some of the students put this together for you. Coach Wilson: No. You did that. - You did that. Mr Harrington: I helped a little bit. Coach wilson: I tried to stop him so many times, but you piled through. - He did all of that. - You did a great job. Julius Dell: I hope you have time to stop and check it out... And feel free to walk... Or, or swing through the hallway... Or crawl on the ceiling to avoid everybody. Mr Harrington: We all know you can do it. Peter: I'm just gonna... Coach Wilson: You know what you did. Mr Harrington: Stop it. You're embarrassing yourself. He's a conspiracy theorist. Peter: Can we just like, stay up here all day? - It is so crazy down there. MJ: Wait, this one's good. Some suggest that, Parker's powers include the male spider's ability to hypnotize females. Which he used to seduce Jones-Watson into his cult of personality. Peter: Stop! Stop. MJ: Yes, my Spider-lord. Ned: Finally. Some privacy. It is so crazy down there. So, I was thinking... When we get into MIT, we should live together. Peter: Yeah, for sure. MJ: Yeah. Love that. Ned: This is gonna be us. MJ: Yes. Minus the frisbee. And the smiling. Peter: MIT's obviously the dream... But if we match-up our backup schools, either way, we'll all be together in Boston. New school, new town. I can Spider-Man there. I mean they have crime in Boston, right? MJ: Yes. Yes, they do. Ned: Yeah, wicked crime. Peter: Yeah, so it'll be like a fresh start. What's up? MJ: I don't know. I just feel like if you don't... If you expect disappointment, then you can never really get disappointed. Peter: Come on. It'll be a fresh start. And, we'll all be together. MJ: Yeah. You're right. Fresh start. Ned; Fresh start. May: First one's here! Peter: It's okay. It's a backup school. May: Peter? No? Last one. MJ: MIT? Peter:,Okay. MJ: Ready? - Jones... I told you to take down the Halloween decorations... MJ: Actually, that was Sasha, so... Enough attitude, just do it. MJ: On it. Ned:I feel like I'm gonna puke. MJ: Well, don't. Because, he will just make me clean it. Peter; This is our only sht. It's here, or nowhere. Hey! Come on. Peter: Okay. You guys ready? MJ: Okay. On three. One... Two... Three... Peter: No. MJ: No. You? Ned: "In light of recent controversy, we are unable to consider your application at this time." Peter: This is so not fair. I mean, this is so not fair. I didn't do anything wrong. And you guys definitely didn't do anything wrong. MJ: Expect disappointment, and you will never get disappointed. Flash: Busted! You guys didn't get in? Ned: Yeah. Because we're actually friends with Spider-Man. Flash: Uhh, yeah... I better get going. There's a, mixer for new admissions... And... sorry, guys. Jones, what are you doing? Get back to work. MJ: Yeah. Coming. Peter: You know what? I wouldn't change a thing. Ned; Me neither. Although, I coulda just showed this letter to my parents. Peter: Umm.... Hi. Hi! Wong; I'm... The most brainless person in the world. I know. Wong: Try not to slip. We don't have liability insurance. Peter: Is all this for a holiday party? Wong: No. One of the rotunda gateways connects to Siberia. Blizzard blasted through. Dr Stephen Strange: Because someone forgot to cast a maintenance spell to keep the seals tight. Wong: That's right. He did. Because he forgot I now have higher duties. Dr Strange: Higher duties? Wong: The Sorcerer Supreme has high duties, yes. Peter: Wait, I thought you were the Sorcerer Supreme? Dr Strange: No. He got it on a technicality 'cause I blipped for five years. Oh. Well, congratulations. If I'd been here, then I'd... Wong: brned the place down. You two, no one sits. Start shoveling. Dr Strange: So, Peter... To what do I owe the pleasure? Peter: Right. Umm... I'm really sorry to bother you, sir, but... Dr Strange: Please. We saved half the universe together. I think we're beyond calling me sir. Peter: Okay, uhh... Stephen. That feels weird, but I'll allow it. Peter; When... Jake When Mysterio revealed my identity... My entire life got screwed up, and... I was wondering, I mean, I don't even know if this would actually work, but I was wondering if... Maybe you could go back in time and make it so that he never did? Dr Strange: Peter... we tampered with the sab of space-time to resurrect countless lives. You wanna do it again now just because yours got messy? Peter: This isn't... it's not about me. I mean, this is really hurting a lot of people. My... My Aunt May, Happy... My best friend, my girlfriend, their futures are ruined just because they know me, and... They've done nothing wrong. Dr Strange: I am so sorry, but... even if I wanted to... I don't have the Time Stone anymore. Peter: That's right. I'm really sorry if I... wasted your time. Dr Strange: You didn't... Peter: Just forget about it. Wong: He will. He's really good at forgetting things. Dr Strange: Wong. You've actually generated a good idea. Wong: What? Dr Strange: The runes of Cafkal. Peter: The runes of Cafkal. Dr Strange: Oh, it's just a standard spell of forgetting. Won't turn back time, but at least people will forget that you were ever Spider-Man. Peter: Seriously? Wong: No. Not seriously. That spell travels the dark borders between known and unknown reality. It's too dangerous. Dr Strange: God, we've used it for a lot less. Do you remember the full moon party in Kamar-Taj? Wong: No. Dr Strange: Exactly. Come on. Wong. Hasn't he been through enough? Wong: Just leave me out of this. Dr Strange: Fine. Wong; Fine. Peter: So what is this place? The Sanctum's built at the intersection of cosmic energy currents. We were the first to seek them out. Some of these walls are thousands of years old. And they sht an episode of Equalizer here in the 's. Peter: Well, I, umm... really appreciate you doing this for me, sir. Dr Strange: Don't mention it. And don't call me sir. Peter: Right. Sorry. Dr Strange: You ready? Peter: I'm ready. Dr Strange: Nice knowing you, Spider-Man. Peter: Wait, excuse me? Dr Strange: The entire world is about to forget that Peter Parker is Spider-Man. - Including me. Peter: Everyone? - Can't some people still know? Dr Strange; That's not how the spell works. Very difficult and dangerous to change it mid-casting. Peter: So my girlfriend is just gonna forget about everything we've been through? I mean, is she even gonna be my girlfriend? Dr Strange: That depends. Was she your girlfriend just because you're Spider-Man, or... Peter: I don't know. I really hope not. Dr Strange: Alright. Fine. Everyone in the world is gonna forget you're Spider-Man, except your girlfriend. Peter: Thank you so much.... Oh, my God. Ned. Ned! Dr Strange: What is a Ned? Peter: He's my best friend so it's really important to me that Ned knows. Dr Strange: Okay. Let's not change the parameters of the spell anymore... - While I'm casting it. Peter: Okay, I'm done. I swear I'm done. But my Aunt May should really know. Dr Strange: Peter, stop tampering with the spell. Peter: Once she found out that I was Spider-Man, it was really messy, and I don't think that I can go through with that again. - So, my Aunt May? Dr Strange: Yes! Peter: Oh, thank you. Happy? Dr Strange: No. I am annoyed. Peter: No, it's a nickname. Harold "Happy" Hogan. He used to work for Tony Stark.... Dr Strange: Could you just stop talking? Peter: Basically, everyone who knew that I was Spider-Man before, should still know. - Did it work? Dr Strange: No. - You changed my spell six times. Peter: Five times. Dr Strange: You changed my spell. You don't do that. I told you, and that is why. That spell was completely out of control. If I hadn't shut it down, something catastrophic could've happened. Peter: Stephen, listen, I am so sorry... Dr Strange:Call me sir. Peter: Sorry, sir. Dr Strange: You know, after everything we've been through together, somehow I always forget... You're just a kid. Look, part of the problem, it's not Mysterio. It's you. Trying to live two different lives. And the longer you do that, the more dangerous it becomes. Believe me. I'm so sorry about, you and your friends, not getting into college, but if they rejected you, and... you try to convince them to reconsider, there is nothing else you can do. Peter: When you say "convince them", you mean like, I could've called them? Dr Strange: Yeah. Peter: I can do that? Dr Strange: You haven't called? Peter: Well, I mean, I got their letter, and I assumed that... Dr Strange: I'm sorry, but are you telling me, that you didn't even think to plead your case with them first, before you asked me to brainwash the entire world? Peter: I mean, when you put it like that, then... Come on. Pick up, pick up, pick up... Flash: Dude, what? I'm busy. Peter: Flash, where's the MIT mixer? Flash: Why? Peter: Because, I need to come and talk to someone. I'm trying to get Ned and MJ a second chance at getting in. Flash: What's in it for me? I'm risking a lot just talking to you. Peter: Okay. I will.... Pick you up and swing you to school for a week? Flash: For a month. Peter: For a week. Flash: Two weeks. Peter: Flash, please. Come on, help me. Okay, I'll tell everyone that you're my best friend. Peter: Flash, please help me. Flash: Cool, cool, cool. So there's this lady. The assistant vice chancellor. You can plead your case with her. Peter: Okay, perfect. Where is she? Flash: She left. Peter: To go where? Flash: To the airport. Stark Network, unavailable. Facial recognition, unavailable. Spider-Man: Hi. Yep. I can see you. Kid: Mom? Okay. Yeah. Peter: Hi. I'm Peter Parker... Vice Chancellor: You do know you're in the street, right? Peter: Yeah, I know. I'm sorry. I just, I really needed to talk to you, I know you're on your way to the airport... MJ Watson and Ned Leeds are the two smartest people I've ever met in my entire life, and I'm the dumbest person, because.... I let them help me, but if I didn't let them help me, then millions of people would've died, so please... - Don't let MIT be dumb like me. Vice Chancellor: MIT is dumb? Peter: No! I'm saying don't let MIT be dumb. I mean, like the... the dumber version of me that wouldn't have let them help. Vice Chancellor: You didn't rehearse that, did you, Peter? Basically, what I'm trying to... Spider-Man: Why are you running? What... Oh, my God. Ma'am? You should get out of the car. Everybody get off the bridge! We're locked. Doors --- hey! Dr Octopus: Hello, Peter. Spider-Man: Hi? - Have we... Do I know you? Dr Octopus: What have you done with my machine? Spider man: Your ma... I don't know what you're talking about. What machine? The power of the sun, in the palm of my hand. It's gone. Spider-Man: Listen, sir. If you stop smashing cars, we could work together and I can help you find your machine. Dr Octopus: You wanna play games? Catch! Spider-Man: It's okay. You guys are fine, you're safe. Get out of here. Dr Octopus: You think your fancy new suit's gonna save you? I should've klled your little girlfriend when I had the chance. Spider-Man: What did you just say? Dr Octopus: Looks like we got competition. Vice Chancellor: Peter! Help! Spider-Man:Don't worry, Ma'am! I'm coming! Vice Chancellor: Peter! Spider-Man; Ma'am, just stay calm. - Just take a deep breath. Are you okay? Vice Chancellor No! Spider-Man: I've got it all under control. Suit compromised. Nanotechnology. Dr Octopus: You've outdone yourself, Peter. I underestimated you. But now, you die. You're not Peter Parker. Peter: I am so confused right now. Dr Octopus: What's happening? - New device detected. Pairing new device. Dr Octopus; Don't listen to him, you listen to me. Hey. Hey. Hey! Listen to me. No, not him. Me! Peter: Ma'am are you okay? Come on, you can still make your flight. Vice Chancellor: Peter. You're a hero. Spider-Man; No. Well, I'm... No, I'm... Vice Chancellor: I'm gonna talk to admissions about your friends, and I'm gonna talk to them about you. Peter: No, but, Ma'am, this isn't about me. Vice chancellor: I'm going to talk to them about your friends, and you. Okay? Peter: Really? Vice Chancellor; And if you keep your noses clean, maybe you'll have a fair sht. Here. Get out of the way. Let me get that man. You. I see you. Come here! That was not okay. Unbelievable. Peter: Until you stop trying to kll me, I'm in control, buddy. Of this whole tentacle situation you got going on here. Okay? Now, who are you? What is going on... ( Maniacal laughter heard) Dr Octopus: Osborn? Peter: Doctor... Dr Strange: Be careful what you wish for, Parker. Dr Octopus: Let me out of here! Peter: Can you please explain to me what is going on? That little spell that you botched where you wanted everyone to forget that Peter Parker is Spider-Man, it started pulling in everyone who knows Peter Parker is Spider-Man, from every universe. Peter:,From every universe? Dr Octopus: Who are you? Where am I? Dr Strange: I think it's better if we don't engage with him because, frankly, the Multiverse is a concept about which we know frighteningly little. Peter: The multiverse is real. Dr Strange: This shouldn't even be possible. Peter: But I thought you stopped the spell? Dr Strange: No, I contained it, but it would appear that a few of them squeaked through. After you left, I detected an otherworldly presence. I pursued it into the sewers, where I found that slimy, green, son of a gn. Dr Octopus: Spell? Is it magic? What is this, a birthday party? Who is this clown? What is this madness? Dr Strange: Watch this. Do you know a Peter Parker who is Spider-Man? Doctor Octopus: Yes. Dr Strange: Is that him? Dr Octopus: No. Strange: See? Okay, here's what we gotta do. I don't know how many of these - visitors we got... Peter: I saw another one. On the bridge. He was like a... Like a flying green elf. Strange: Well he sounds jolly. Why don't you start with him? I need you to capture them and bring them here, while I figure out how to get them back. Before they destroy the fabric of reality, or worse, Wong finds out. Peter: Uhh, Doctor Strange? Strange: What? Peter; My friends and I just got a second chance at getting into MIT. If the school sees me fighting these... - crazy monsters, Octopus: Hey, watch your mouth! Peter; I'm sorry. Strange: You're seriously still talking about college? Peter; Hey, what did you just do? Strange: This. Dr Octopus: How did you do that? Strange: Lots of birthday parties. Hey! One sht, send it to me and move on. You're welcome. Get to work. Peter: Sir? Strange: Now what? Peter: I know this is my mess, and I swear to you that I'll fix it, but I'm gonna need some help. Ned: I can't believe I'm in the Sanctum Sanctorum. Strange: Neither can I. Ned: So... How did you know you're made of magic? Because my nanna says that we have it in and sometimes I get these tinglings in my hand... Strange: You should talk to your physician. MJ: Peter! Peter: Hey! MJ: Hey. Peter: I'm so sorry for dragging you in this, you just gotta help me find these guys... MJ: You don't have to apologize. You got us a second sht at MIT. Ned: So, how did the bad guys get here? Strange: He screwed up a spell trying to get you into college. MJ: Wait, what? I thought it was a magic laser? Ned: You did it with magic? Peter: No, that was after. Let's just focus on the good news, okay? Strange: No, let's just focus on the bad news. As of now, you have detected zero multiversal trespassers, so... Get on your phones, scour the internet, and... Scooby-Doo this shit! MJ: You're telling us what to do, even though it was your spell, that got screwed up. Meaning that all of this is kind of your mess. You know, I know a couple of magic words myself, starting with the word 'please'. Strange: Please, Scooby-Doo this shit. You can work in the undercroft. Ned: The undercroft? Badass. Peter: Guys, listen. About this whole spell thing... MJ: It's totally okay. Peter: Wait, really? MJ: Yeah. I mean, I get it. You were... just trying to fix things... And so... Maybe just run it by us next time, you know? That way, when you're thinking, "Hey, I'm about to do something that could... break the universe", we could like, help you. Workshop something, or... brainstorm ideas. Deal. Peter: Ned? Ned: Oh, dude. I don't care. And seriously, not a big deal. A trture rack. MJ: That is a pilates machine. That is... Peter: The crypt. MJ: Okay, so we get the rest of the guys. You zap them, Doctor Magic will send them back. And when we get into MIT, round of stale donuts, my treat. Ned: Let's catch some multiverse men. Dr Octopus: Hey! Who the hell are these two? Peter: These are my friends. This is MJ and this is Ned. Hello. Peter: I'm sorry, what was your name again? Dr Octopus; Dr. Otto Octavius. Peter: Wait, no seriously, what's your actual name? Ned: Oh, is that a dinosaur? Peter: No, no, no, May. We gotta find these guys first. May: Well, finish your mission, then come by. Ned: I got one, I got one, I got one. Peter: Oh, May? I gotta go. May: Okay. Love you. Bye. Ned: I mean you can take the guy out of the chair but you can't take the chair out of the guy. Peter: What did you find? Ned: There's a... disturbance near a military research facility outside of the city. And witnesses say they saw a monster flying through the air. Peter: That's gotta be the guy I saw on the bridge, right? Dr Octopus: That's impossible. Peter: You know him, don't you? On the bridge, you said his name. Dr Octopus: Norman Osborn. Brilliant scientist. Military researcher. But he was greedy. Misguided. Peter: What happened to him? Dr Octopus: We tire of your questions, boy! Peter: Okay... I gotta go. Where am I going? Dr Octopus: It can't be him. Peter: Why? Dr Octopus: Because Norman Osborn died years ago. So either we saw someone else, or you're flying out into the darkness, to fight a ghost. MJ; Keep an eye out on those trees, we don't really know where this guy is. I genuinely don't know how you do this without throwing up. Peter: Did you guys see that? MJ: No. Ned: It's, it's really dark. What's happening? MJ: Peter, what is it? Are you getting the tingle thing? Is the tingle thing happening? Is your tingle tingling? Peter: Are you guys seeing this? MJ: Yeah. Ned: Osborn? Peter: No. He was green. This guy's blue. You wouldn't happen to be from another universe, would you? MJ: What's he doing? Peter: I don't know. Looks like he's charging. MJ: I don't like this. Just web him. Ned: Go left, left! Go left! MJ: Wait! Right, right! Peter: Guys! This is not helping! MJ: No, no, no. What happened? Peter? Peter? Whoa. Flint Marko/ Sandman: Peter, it's me. Flint Marko. You remember? Spider-Man: I'm Peter, but I'm not your Peter. Sandman: What do you mean you're not my Peter? What the hell is going on? I'll explain everything, but first can you help me stop this guy? Sandman: Okay. Spider-Man : You try to surround him and I'll pull the plug. Sandman: All right, let's go. I can't hold him much longer. Spider-Man: I got him. I got it. Sandman: Different Peter. Weird. Peter: Thanks. Sorry. Sandman: Don't worry about it. Electro: I got my body back. Spider-Man: Hey, umm... This is gonna sound really crazy, but this isn't your universe. Electro: Another universe? Sandman: What? Electro: That's what I was feeling. The power. It's different. I like it. Sandman: Easy, buddy. Peter: It's actually my fault that you're here. Electro: Like the universe? Or the woods? - I hate the woods. Spider-Man: meant the universe, sir. Electro: So what? You guys just gonna stand there and act like I ain't butt-ass naked? Sandman: : I am. Spider-Man: Uhh, no, no... Sandman: What was that? What did you just do to him? Spider-Man: No, no, no. It's okay. Sandman:,Did you kll him? Spider-Man: Whoa, listen. I can explain everything. You just have to trust me, please. Sandman: I don't trust you. I don't know you. What is this? Electro: You picked the wrong side. Connors? Dr Octopus: What? You know this creature? Electro: No, no, no, no. Not a creature. A man. From same universes. Dr. Curt Connors. He was a scientist in Oscorp when I worked there. A brilliant scientist. Till he turned himself into a lizard. Then he tried to turn the whole city into lizards. It was crazy. The Lizard: It wasn't crazy, Max. It was the next step in human evolution. Ned: The dinosaur can talk. MJ: Lizard. Ned: Right. The Lizard: Speaking of which, what happened to you? Last I recall, you had bad teeth, glasses and a comb-over. Did you get a makeover? You know I can give you a real makeover. Electro: Let me guess. Into a lizard? The Lizard: Exactly. Sandman: Could you two just shut up? Where are we? Ned: It's complicated. MJ: A wizard's dungeon. Electro: Wizard's... Wizard's dungeon? MJ: There's no real way to sugarcoat that. It's literally the dungeon of a wizard. Electro: Look, you can keep your magic. I want a taste of that new energy I just felt. MJ: Oh, Peter. Hey. Spider-Man: Hey. Did those guys come through yet? There should be an electric guy and a sand guy. MJ: Yeah. They're all here and locked up. Spider-Man: Perfect. I'm gonna just stay here for a bit, and try to fix this damage so they don't blame it on me again. MJ: Okay. Spider-Man: Hey, I... I couldn't do any of this without you, so... - Thank you. MJ: Yeah, of course. Ned: Hey, ask him if this is like a tree monster, or like a scientist that turned into a tree. Electro: It’s just a tree, man? : It’s just a tree. Green Goblin: Coward. We have a new world to conquer. - You make me sick. Norman Osborne: Leave me alone. Please. Green Goblin: Hiding in the shadows... Hiding from who you truly are. Norman: No! Green Goblin: You can't escape yourself! Peter: Hey, May. MJ: Hey, Peter. I'm at work, and, umm... One of the guys you're looking for just walked in. MJ: May? Where's May? Thank you. May: Hey, here he is. Norman, this is my nephew. Peter:,Norman Osborn? Norman: I thought that you were... I saw Spider-Man in an ad for this place. And I thought he could help me. But you're not him. Peter: Wait, so you want Spider-Man's help? May: He just wandered in. Norman: I didn't know where else to go. Someone's living in my house. Oscorp doesn't exist. My son... Sometimes, I'm not myself. I'm... someone else. And, everytime he's in control, I can't remember. And now, I'm here, in this place, in this city, and I don't know... I don't know what's going on with me. I don't... It doesn't make sense. May; He's lost. And I don't mean just in the cosmos. I mean in his mind. Are they all like this? Peter: Yeah. Well, I mean they all have their own, mental or physical issues. May: Well, he needs help, but maybe they all do. Peter: What, you don't mean... No, May, this... This isn't my problem. May: Peter, not your problem? Mmm? Peter: May... Their chance of getting help is way better back where they came from. Sending them home, That's the best thing that we can do for them. May: For them? Or for yourself? Look around you. This is what we do. We help people. Peter: This is what's best, for them. Trust me. Jameson: But the fact remains, Spider-Man is a menace! We'll be right back, after a brief word from Daily Bugle supplements. The only other Daily fix you need. And, we're out. Jameson: What? I got eyes on them. He's with his aunt and some guy I don't know. Jameson: You sure? They're just leaving the shelter. Jameson: Okay. Don't lose him. Norman; Thanks, May. Hope to see you again. May: Hey. He trusts you. So do I. Peter: Thanks for cleaning my suit. I'll see you later. - Guys, this is Mr. Osborn. Norman: Hey, it's Doctor. Peter: Sorry. Umm... Dr. Osborn, these are my friends, Ned and MJ. Norman: Mary Jane? MJ: It's Michelle Jones, actually. Norman: Fascinating. Ned; Do you think there are other Ned Leedses? Norman: Octavius? Doctor Octopus: Osborn? Norman: What... What happened to you? Dr Octopus: What happened to... - You're the walking corpse. Norman: What do you mean? Doctor Octopus: You died, Norman. Years ago. Norman: You're insane. Electro: God, I love it here. Peter: What are you talking about? He's standing right there. - He's not... - dad. Sandman: They both died. Fighting Spider-Man. It was all over the news. Green Goblin? Impaled by the glider he flew around on. And a couple of years later... You. Doc Ock. Drowned in the river with your machine. Dr Octopus: That's nonsense. Spider-Man was trying to stop my fusion reactor. So I stopped him. I had him, by the throat.... And then, I... And then I was here. Electro: Oh, please. Let me tell you something. I was whooping Spider-Man's ass. He'll tell you. And then he caused an overload. I was stuck in the grid, absorbing data. I was about to turn into pure energy, and then... And then... Oh, shit. I was about to die. Lizard: Max, do you know? Do I die? Strange: Oh, great. You caught another one. Peter: No, wait. Strange, he's not dangerous. It's okay. What is that? Strange: It's an ancient relic. The Machinati Codamus. Trap your corrupted spell inside, once you've finished the proper ritual, will reverse the spell. And send these guys back to their universes. Dr Octopus: And then what? We perish? Electro: Nah. No thanks, I'll pass on that. Norman: Let me out of here. Peter! Peter: Strange... We can't send them back. Not yet. Strange: Why? Peter: Some of these guys are gonna die. Strange: Parker... it's their fate. Peter: Come on, Strange. Have a heart. Strange: In the grand calculus of the multiverse, their sacrifice means infinitely more than their lives. I'm sorry, kid. If they die, they die. Peter! Don't! Ned: Dude, what are you doing? MJ: Peter, you gotta go. Go! Strange: This is why I never had kids. Give me the box. Peter: No. Whoa! Oh, my God. I'm dad. Strange: You're not dad. You've just been separated from your physical form. Peter:,My physical... What?! Strange; How are you doing that? Peter: I have no idea. Strange: You should not be able to do that. Peter: This feels amazing. That might be one of the coolest things that's ever happened to me. But don't ever do that again. Hey. Get off of me! What is this place? Strange: The Mirror Dimension. Where I'm in control. Spider-Man : Strange, stop. Can we please just talk about this? Strange: Parker, don't you realize that in the multiverse, there are an infinite number of people who know Peter Parker is Spider-Man. And if that spell gets loose, they're all coming here. Spider-Man: Look, I know. I get it. But we can't just send them home to die. Strange: It's their fate. You can't change that anymore than you can change who they are. Spider-Man: But what if we could? What if we can change their fate? What are you doing? I'm not giving you the... Give me that back. Wait a minute, is that an Archimedean spiral? The Mirror Dimension is just geometry? You're great at geometry. You can do geometry. Square the radius, divided by, plot points along the curve... Strange: It's over, Parker. I'll come pick you up when it's done. Spider-Man: Hey, Strange. You know what's cooler than magic? Math. Strange:,Don't do this. Oww. Spider-Man: I'm sorry, sir, but... I have to try. Ned: Dude, what happened? Peter; I just had a fight with Doctor Strange and I totally won! Ned:,What? Peter: Look, and I stole his ring thing. I was swinging through the city, and then I went through this... massive mirror thing, - and then I was back... MJ: Where is he? Where is he? Peter: He's trapped, but... I'm not sure for how long. Dr Octopus:,You could've just left us to die. Why didn't you? MJ: Because that's not who he is. Peter: I think I can help you guys. If I can fix what happened to you, then when you go back, things will be different and you might not die fighting Spider-Man. Electro: What do you mean fix us? Peter: Look, our technology is advanced... Norman: I can help you. You know, I'm something of a scientist myself. Octavius knows what I can do. Dr Octopus: Fix? You mean like a dog? I refuse. Peter: I can't promise you guys anything, but at least this way, we actually get to go home and have a chance. A second chance. I mean, come on. Isn't that worth trying? Lizard: Trust me, Peter... When you try to fix people, there are always consequences. Peter: I mean, you don't have to come. I also didn't know that you could talk. But if you stay here... you're gonna have to deal with the wizard. Lizard: So, we go along, or die. Not much of a choice, is it? Sandman: I just wanna go home. Electro; Well, I myself don't wanna be klled, especially by a guy dressed like Dungeons & Dragons, so... What's your plan? Peter:,I have it all under control. What are we gonna do about this thing? MJ:Well, we need to find somewhere safe for it, right? Peter: Yeah. Yes. Yes. Peter: You got to take it. MJ: Wait, what? Peter: If something bad happens, I'll text you, and then you just push this and then it's all over, and they'll all be gone. MJ; We're going with you. We're not gonna leave you. Peter: You can't come with me. It's too dangerous. You guys have already done enough. Ned: Peter, we're in this together. Peter: I know we're in this together, Ned, but I can't do this if I know that you're in danger. Okay? So for me, Mj please just take this. Please. MJ: Fine. Peter: Thank you. MJ: But Peter, I swear, if I don't hear from you, I'm pressing the button. - Sure. MJ: Okay. And I will do it! Electro: Yeah, we all believe you, Michelle. Lizard: No way that's his girlfriend. No way. Peter:,She'll do it. Ned: Absolutely. She will. Okay. Peter: See you later. Ned: Be safe. Peter: You too. Ned: Whoa. Okay. MJ: Be careful, okay? Peter: Yeah. You too. So, uhh... Who's coming with me? Electro; Well, I'm in. But, if this goes sideways... I'm gonna fry you from the inside out. Peter: Where's Connors? May: He told me he wants to stay in the truck. - Okay. - Alarm systems, deactivated. Okay. Peter: I feel kinda bad using Happy's place like this. May: No, no, no, no. He'll get over it. Sandman: Sorry. Dr Octopus: So this is your plan, Peter? Mmm? No lab, no facilities, just performing miracles in a condominium? What, you're gonna cook up some churros, some frozen burritos in a microwave? Norman: I could go for a burrito. Dr Octopus: He's gonna kll us all. Peter: Well, let's hope not. You're up first, Doc. Dr Octopus; What? Hey, I told you. I don't need fixing. I don't need fixing! Especially by a teenager using scraps from a bachelor's junk drawer. Electro: No, no, no, no. He got something back there. I can feel it. Weird energy. Norman; What the hell is that? Peter: It's a fabricator. It can analyze, design, construct basically anything. May: I thought that was a tanning bed Happy broke. Electro: Look at that. Dr Octopus: He's gonna kll us all. Peter: So, the chip in the back of Doc's neck was designed to protect his brain from the A.I. system that's controlling these tentacles. But if you look here... The chip is fried. So rather than him being in control of the tentacles, the tentacles are now in control of him. Which, I guess explains why... he is so miserable all the time. May; Thirsty? Dr Octopus: Well, yes. I am thirsty. May: Fresh water or salt? You know, because you're an octopus. Dr octopus: What? May; Fresh water it is. Electro; Look at this place. And all the possibilities. Sandman: What? This condo? Electro: Yeah. yeah, the condo. I love the whole overfloor plan. No! No, man. I'm talking about the world. I kinda like who I am here. And all that power back there? I could be so much more. So why did you come here? Sandman:I have a daughter. And I wanna see her. But he's not gonna send anyone home. Till he's finished his little science project back there. Electro: You trust him? Sandman: I don't trust anyone. How'd you end up like that anyway? Electro: The place where I worked at... They were experimenting with electricity created by living organisms, and then... I fell into a vat of electric eels. Sandman: You're kidding. I fell into a supercollider. Electro: Damn. Gotta be careful where you fall. Norman: Remarkable. The technology and you. When all this is over, if you need a job and you're willing to commute to another universe... Peter; It worked. That totally worked! I got it. I did it. I did it. Will you send him up? Yup. Here we go. - Sorry. - Hold on, Doc. Dr Octopus: All of these humiliations never cease. You! Keep your science fair project away from me! Norman: Hey, it will work. Have faith. Dr Octopus: Says the reckless fool who turned himself into a monster. Peter: Please stop. Hold still. Dr Octopus: Don't you dare. I swear... when I get out of this wicker, I'm gonna... Peter; Doc? Doc? Doc? Doctor Octavius? Otto: It's so quiet... Those voices... Inside my head... I'd almost forgotten... Norman: Otto. Dr Octopus; Yes. Norman. It's me. : Would you look at that. Otto: I'm grateful, dear boy. Truly. Peter: Yeah. You're welcome. Otto: How can I help you? ( Voicemail) This is Peter. Leave a message. Happy: Yeah, Peter, this is Happy. I accessed my doorbell camera... Who are those guys, huh? Is that a cyborg, you bring a cyborg with robot legs into my house? One of the guys was made of mud? What's going on? Call me back. Otto: How does it feel, Norman? You're about to become whole again. No more darker half. Just you. Norman: Just me. Peter: Okay. Umm... It just goes right here, this one... That should be drawing power now. I'm gonna come back in asecond just to check on it, but... Keep an eye on the lights. When they're all green, it means all the electricity in your body's dissipated. Well, not all the electricity. I mean, obviously you know you need electricity for your brain to function... Your nervous system is... I'm not really sure why I'm explaining electricity to you. Electro: Can I ask you a question? Peter: Sure. Electro: Are these your legos? Peter: I gotta go. I'll be back. Electro: Something feels off. Sandman; What do you mean? Electro: I don't like this. Sandman: Leave it alone. The sooner you guys get through with this, the sooner we go home. Jameson: Well? Where is he? - He's inside. Jameson: And yet here we are outside. Did you not hear me say don't lose him? I want incriminating footage of Spider-Man. Lizard: And so it begins. May: Peter? Peter: What's wrong? May: I don't know. Peter: May? May: What is it, Peter? What's up, Peter? Why are you looking at me like that? Green Goblin: That's some neat trick. That sense of yours. Otto; Norman? Green Goblin: Norman's on sabbatical. The hell? Peter: Goblin. Green Goblin: No more darker half? Did you really think that I'd let that happen? That I'd let you take away my power just because you're blind to what true power can bring you? Peter: You don't know me. Green Goblin: Don't I? I saw how she trapped you. Fighting her holy moral mission. We don't need you to save us. We don't need to be fixed. These are not curses. They're gifts. Otto: Norman, no. Goblin: Quiet, lapdog. Peter: You don't know what you're talking about. Goblin: I watched you from deep behind Norman's cowardly eyes. Struggling, to have everything you want, while the world tries to make you choose. Gods don't have to choose. We take. Peter: May, run! Otto: Oh, my God. What have you done? Electro: I liked you better before. Jameson: Up here! He's up there. It's the guy from the bridge. Did you see that? Get off me! Goblin: Strong enough to have it all... Too weak to take it! Lizard: Now I've gotcha. I told you there'd be consequences! Goblin: Your weakness, Peter... is morality. It's choking you. Can you feel it? It didn't work. Norman was right. He got it from you. That pathetic sickness! You tried to fix me... Peter: May, go... May... Goblin: Now, I'm gonna fix you. Peter:,May, run, please... May! Goblin: Peter, Peter, Peter... No good deed goes unpunished. You can thank me later. Peter: No! - May? May: Peter... Peter: May, May... I'm here. I'm here. - Are you okay? May; Uh-huh. Uh-huh. Peter: Really? May: Yeah. Peter: It's okay. We're okay, right? May: Yeah. Knocked off my head. Peter: Yeah, me too. May: That's all. Peter:I think I broke my ribs. This is all my fault, May. I should've just listened to Strange and let him send them back... May: You did the right thing. They would have been klled. You did the right thing. Peter: It's not my responsibility, May. May: What Norman said? My moral mission. No. No, Peter. Listen. You listen to me. You have a gift. You have power. And with great power, there must also come great responsibility. Peter: Yeah. I know. May: Let's get out of here. Peter: Okay, let's go. What happened? Are you okay? Yeah, you're okay. What happened? May; Just helps me... to catch my breath... Peter: Okay. Well, catch your breath. I'm right here. We're gonna take our time, you catch your breath, and... and we'll take you to a Doctor, okay? Are you okay? Somebody help. I need an ambulance. Please, somebody... May: What happened? Peter; Nothing. You're okay. You're okay. May: I'll just... catch my breath... Peter: Okay. I'm right here. I'm right here. I'm right here. We're okay. Just me and you. May? May? Will you look at me, May? Please? May? May? What are you doing, May? Please, will you just wake up and talk to me, please? Happy: Peter! Peter: I'm sorry. I'm so sorry. Run! Jameson: Tragedy. What else can I call it? What more need be said? The damage... The destruction... You saw it with your own eyes. When will people wake up, and realize that everywhere Spider-Man goes... Chaos and calamity ensue. Everything Spider-Man touches comes to ruin. And we, the innocents, are left to pick up the pieces. J. Jonah Jameson, reporting. Good night. And God help us all. MJ: Still nothing? Ned: No. MJ: I'm gonna press it. Ned: What? No! MJ: Peter told me to wait, but... I'm gonna do it. Ned: I just wish... I just wish that we could see him. MJ: Ned? Ned: Yeah? MJ; Do that again. Ned: Yeah. I just wish we could see him. Okay... I just wish we could see Peter. Lola: Salamangkero! You're right. I am magic. MJ: Is that him? Ned: Yeah, yeah. It has to be. - Peter. Peter! MJ: Hey, Peter! Peter! Peter 3: Hi. Hi! No, no, no. It's okay, it's okay. I'm nice guy. Okay... MJ: Who the hell are you? Peter 3:,I'm Peter Parker. MJ: That's not possible. I am Spider-Man. In my world. But then, yesterday? I was... I was just here. Wow. String theory... Multidimensional reality... And matter displacement. All real? MJ: Yeah... Peter 3: Knew it! Ned: This has to be because of the spell. Peter 3 : The spell? - Like magic spell? Ned: There's no spell. MJ: No spell. Ned:,No. Peter 3: Magic's real here, too? Ned; I mean.. MJ: Shut up, Ned. Ned: No, it's not real. MJ: Shut up. Ned: I mean... There's magicians and stuff, but there's no like... MJ: Stop it. Stop. - Prove it. Peter: Prove what? MJ: That you're Peter Parker. Peter 3: I don't carry an ID with me, you know? Kinda defeats the whole anonymous superhero thing? Why'd you do that? MJ: To see if you have the tingle thing. Peter 3: I have the tingle thing, just not from bread. Can you not throw the bread again? You're a deeply mistrusting person. And I respect that. MJ: Crawl around. Peter 3: Crawl around? MJ: Yes. Peter 3 : No. MJ: Crawl around. Peter 3: Why do I need to crawl around? MJ: Cause it's not enough. Peter 3: This is plenty. MJ: No, it's not. Peter 3 : Yes, it is. MJ: Nuh-uh. Peter 3: How do I stick to the ceiling? MJ: Do it. Lola: Ned... sabihin mo diyan sa mamang yan, na alisin yung agiw sa sulok. Ha? Ned: My Lola's asking if you could just get the cobweb there. - It's too, like, up there? Peter 3: Yeah. Lola; Thank you. Peter 3 : We're good? MJ: We're good. For now. Ned: So, I opened a wrong portal to the wrong Peter Parker. MJ: Yeah, I guess you just keep doing it until you find the real one. Peter 3: Ouch. MJ: No offense. Ned: Okay. MJ: Okay. You're good. Ned:,Find Peter Parker. Peter 3: What's the thing on his hand? Ned: Find Peter Parker. Find Peter Parker! Great, it's just some random guy. Peter 2: Hello. I hope it's okay, I just came through this... It just closed. You're Peter? Peter 2: Yeah. Peter Parker. I... I've seen you two... Hi. Wait. He's... He's not your friend... Ned: Whoa, it's... So you're Spider-Man too? Why didn't you just say that? I generally don't go around advertising it. Kinda defeats the whole anonymous superhero thing. Peter 3: That's what I just said... MJ:That's what he just said. Lola: Ikaw, ha? Nagkalat ka nanaman. Linisin mo lahat ng mga basura mo dito. At ikaw? Alam mo na gusto ko itong bahay natin, maayos. pero tingnan mo, dumi dito, dumi doon. Ned: My Lola's asking if you could clean up the webs that you just sht. Peter 3: Oh. Sorry, Lola. Peter 2: Yes, of course. Lola: I'm going to bed. MJ: Good night, Lola. Peter 2: This might seem kind of weird, but... I've been trying to find your friend ever since I got here. I just had this sense that... That he needs my help. Peter 3: Our help. MJ: He does. Ned: We don't know where he is. MJ: And, umm... Honestly, right now, we're all he really has left. Peter 2: Well, is there some place, that he might go that has meaning to him? Like a... a place where he would go to just... Get away from everything? For me, it was the top of the Chrysler Building. Peter 3: Empire State. Better view. Peter 2: That is a sweet view. MJ: Yes. Yeah, I think I know exactly where that would be. Peter, there's... there's some people here... Peter: Who? Hey. Wait, wait, whoa. Peter 2: Sorry... About May. Peter 3: Yeah. Sorry. I got some understanding of what you're going through... Peter: No, please don't tell me that you know what I'm going through. Peter 3: Okay. Peter: She's gone. It's all my fault. She died for nothing. So I'm gonna do what I should've done in the first place. Peter 3: Peter... Peter: Please, don't. You don't belong here. Either of you, so I'm sending you home. Those other guys are from your worlds, right? So you deal with it. If they die, if you kll them... That's on you. It's not my problem. I don't care anymore. I'm done. I'm really sorry that I dragged you into this. But you have to go home now. Good luck. Peter 2: My Uncle Ben was klled. It was my fault. Peter 3: I lost... I lost Gwen. My... She was my MJ. I couldn't save her. I'm never gonna be able to forgive myself for that. But I carried on. Tried to... Tried to keep going. Tried to keep being the... ... friendly neighborhood Spider-Man, because I know that's what she would have wanted. But... At some point, I just... I stopped pulling my punches. I got rageful. I got bitter. I just don't want you, to end up like... Like me. Peter 2: The night Ben died, I hunted down the man who I thought did it. I wanted him dad. I got what I wanted. It didn't make it better. It took me a long time to... learn to get through that darkness. Peter: I wanna kll him. I wanna tear him apart. I can still hear her voice in my head. Even after she was hurt, she said to me that we did the right thing. She told me that with great power... Peter 2: comes great responsibility. Peter: Wait, what? How do you know that? Peter 2: Uncle Ben said it. The day he died. Maybe she didn't die for nothing, Peter. Peter: Okay, so... Connors, Marko, Dillon, and... Look, I think that I can repair the devices for Dillon and Marko, but the others... Peter 3: Well, I got Connors. I've already cured him once, so no big deal. What? It's no big deal. Great. Peter 2: Yeah. That's great. I think I can make an antiserum for Doctor Osborn. Been thinking about it a long time. Gotta cure all of them. Right? Peter 3: Right. That's what we do. Peter: What? MJ: It's for yous. Ned: So... Do you have a best friend too? Peter 2: I did. Ned: You did? Peter 2: He died in my arms. After he tried to kll me. It was heartbreaking. Peter; Run a diagnostic. Ned: Okay. Mj: Hey, you okay? Peter : Yeah, I'm fine. Are you okay? You don't deserve this. I ruined your life... MJ; Hey. No, no, no, no, no. Look at me. I'm here. I'm not going anywhere. We're gonna get through this. We're gonna get through it together. Okay? Peter: Okay. Peter 2: You have someone? Peter 3: No. I got no time for Peter Parker stuff... You know? Do you? Peter 2: It's a little... complicated. Peter 3: I understand. I guess it's just not in the cards for guys like us. Peter 2: Well... I wouldn't give up. Took a while, but... We made it work. Peter 3: Yeah? Peter 2: Yeah. Me and... MJ. My MJ. She, uhh... It gets confusing, huh? Ned: Peter? All: Yeah? Oh, sorry. You mean... All: Yeah? Oh, sorry. You mean... Ned: Peter-Peter. All: We're all called Peter, Ned. - Yeah. Peter? Ned: Peter Parker? All; Same. - We're all Peter Parker. Ned: The computer! Peter 2: Oh, I'm ready. Peter 3: Yeah, me too. Okay, so... Now, all we gotta do is lure these guys someplace, right? Try to cure them, while they try to kll us, and then, send them home. Peter 2: Using a magic box? Peter 3: : Well, that's the plan. So are you gonna go into battle dressed as a cool, youth pastor, or do you got your suit? Good. Ned: Here's your web cartridges. Peter: Oh, thanks, Ned. Peter 2: What's that for? Peter: It's my web fluid. It's for my web sh*t. Why? Ned: That came out of you? Peter: Yeah. Peter 2: You can't do that, huh? Peter: No. Peter 3: How on Earth is that... Peter: Anyway, we're getting sidetracked. Look, this is where we're gonna do this, okay? It's isolated, so no one should get hurt. We draw them there with the box, it's the one thing they all want. All we have to do is figure out how we're gonna get there. Ned : Oh, we can portal there. Peter: What? Ned; I magic now. MJ: Yeah, no, no. He's right. He can. He can. Peter 2: Yeah, we saw him. Peter 3: Yeah. He is. Peter ; Wait, really? Ned: Dude, I got Doctor Strange magic. Peter: What? Ned: Yeah! Ned; And I promise you... I won't turn into a supervillain and try to kll you. Peter: Okay... Thank you. Umm... Alright. Here goes nothing. What's that thing you always say? If you expect disappointment... MJ; No, no, no... We gotta kick some ass. Peter: Okay. Peter 2: Cure. Cure some ass. Peter 3: Cure that ass. Jameson: Ladies and gentlemen... The Bugle tip line has just received a call from none other than the fugitive known as Spider-Man. Fresh from his rampage in Queens. So, Peter Parker... What pernicious propaganda are you peddling? Peter: Just the truth. Jameson: Oh, sure. Peter: Truth is... That this is all my fault. I accidentally brought those dangerous people here. Jameson; Well, he admits it! Peter: And if those people are watching... Just know that I really did try to help you. I could've klled you. At any given moment, but I didn't. Because my Aunt May taught me that everyone deserves a second chance. And that's why I'm here. Jameson: And where is here, exactly? Peter: A place that represents second chances. Jameson: The Statue of Liberty? Good God, folks! He's about to destroy another national landmark. Peter: The world, if you're watching... Jameson: Believe me, the world is watching. Peter: Wish me luck. Your friendly neighborhood Spider-Man could really use some. Okay, guys. It could be any minute now. Yup. Almost done. Peter 3: You know, Max was like, the sweetest guy ever. Before he fell into a... pool of electric eels. Peter 2: That'll do it. There it goes... Peter 3: You okay? Peter 2: My back. It's kind of stiff from all the swinging, I guess. Peter 3; Oh, yeah, no, I got a middle back pain, too. Peter 2: Really? Peter 3: Yeah. You want me to crack it? Peter 2: Yeah. That would be great. Peter 3: You ready? Peter 2: Yeah. That's good. Peter 3: How is it? Peter 2: Wow. That's good. Peter 3 : Right? Peter 2: That's better. Peter 3: Yeah. Peter 2: Wow. Peter 3: God, this is so cool. I always wanted brothers. So you could like make your own web fluid in your body? Peter 2: I'd rather not talk about this. Peter 3: You No, I don't mean to... Peter 2: Are you teasing me? Peter : No, no, no. No, no, no. He's not teasing you. It's just that... We can't do that, so naturally we're curious as to how your web situation works. That's all. Peter 3: If it's personal, I don't wanna pry. I just think it's cool. Peter 2: No. I wish I could tell you, but it's like, I don't do it... Like I don't... Like, I don't do breathing. Like, breathing just happens. Whoa. Peter: Like, does it just come out of your wrists, or... Does it come out off anywhere else? Peter 2: Only... only the wrists. Peter 3: You never had to web block? Cause I run out of webs all the time. I had to make my own lab. And it's a hassle. Peter 2: That sounds like a hassle. But I did, actually, as you said that. I was like... - I had a web block. Peter 3: Why? Peter 2: Existential crisis stuff. Peter 3: Yeah, don't get me started on that. Peter: Hey.... What are like, some of the craziest villains that you guys have fought? Peter 2: Seems you've met some of them. Peter 3: That's a good question. Peter 2; I fought a... an alien... made out of black goo once. Peter 2: No way! I fought an alien, too. On Earth and in space. Peter 2: Oh. Peter: Yeah. He was purple. Peter 3: I wanna fight an alien. Peter 2: I'm, I'm still, like... That you fought an alien, in Space. Peter 3: I'm lame. Like, I fought a Russian guy in a... Like a rhinoceros machine. Peter 2: Hey, can we rewind it back to the "I'm lame" part? 'Cause, you are not. Peter 4: Aw, thanks. No, yeah. I appreciate it, I'm not saying I'm lame. Peter 2: But it's just the self-talk maybe we should, you know... Yeah, listen... Peter 3: Please... Peter 2: You're... You're Amazing. Just to take it in for a minute. Peter 3: Yeah, yeah, yeah. Peter 2: You... You are amazing. Peter 3: I guess I am. Peter 2: You are amazing. Peter 3: Thank you. Peter 2: Will you say it? Peter 3: No, I kinda needed to hear that. Thank you. Peter: Alright guys, focus up. Can you feel that? Peter 2: Yeah. Electro: What's up, Peter? How do you like the new news? Look, you give it to me, I'm gonna destroy it. But I'll let you live. Don't make me a mrder, Peter. Peter: Okay, guys. Here it comes. Peter 3; Hey, Max! I missed you, man! Peter: All right, MJ, heads up! MJ: Got it! Close it. Okay... Ned: I know. MJ: Why isn't it closing? Ned: I don't know... I... MJ: Have you closed before? No? Ned: No. I mean I have opened some. Peter 3: Max, Max, Max. Can we just talk for a second? Just you and me, just... Electro: Look who showed up! Our old friend Spider-Man. Peter 3: I'm trying to save you, Max. That's all I've ever wanted. Electro: You're not trying to save me. Peter 3; I am. Electro: You ain't even shit no more. Electro:,Don't worry about me. I'll save myself. I got his attention, now what? Peter: Open the cage! Peter 2: Just FYI, Lizard-guy is here too. Guys, comm check, hello. Peter 3: I need Max's cure. Peter: Yeah. I'm on it. Peter 2: Peter! I need the Lizard cure. Peter: Okay! Okay! Sandman: Where's the box, Peter? Peter : Flint! We can help everyone. Sandman: I don't care! Peter 3: Sorry! Electro: I tried to tell you, Sandman. Nobody's going home. Peter 3 ; What the hell, is going on out there? I kept yelling at you, Peter , Peter ... Peter 2: I know, but I thought you're Peter ? Peter 3: What? I'm not Peter... Peter: Stop arguing, both of you! Listen to Peter 1 . Look, we're clearly not very good at this! Peter 3: I know, I know. We suck. I, I don't know how to work as a team. Peter 2: Me neither. Peter; Well I do. I have been in a team, okay? I don't wanna brag, but I will. - I was in the Avengers. Peter 2: The Avengers? Peter: Yeah. Peter 2: That's great! Peter: Thank you. Peter 2; What is that? Peter: Wait, you don't have the Avengers? Peter 3: Is that a band? Are you in a band? Peter: No, I'm not in a band. No, the Avengers is a... - Earth's Mightiest... Peter 2: How is this helping?! Peter: Look, it's not important. All we gotta do is focus, trust your tingle, and coordinate our attcks, okay? Peter 2: Yes. Okay. Let's pick one target. Peter: Right. Peter 3: We take them off the board one at a time. Peter: Now you got it. Okay... - Peter 1 , Peter 2 ... . Peter 2: Peter 2 . - Peter 3 : Peter 3 ! - All right, let's do this... Peter 3: No, wait, wait, wait, wait! I love you guys. Peter: Thank you. Peter: All right. Let's do this. Peter 2: Let's go. Peter: Okay, Spider-Man. Sandman first. Peter 2: I'm gonna lead him inside the statue. Peter 3: I'll meet you at the top. Hey, Dr. Connors. Lizard: Hello, Peter. Peter 2: Peter 1 ! Peter: I got it. Peter 2: Flint! We're trying to help you! Guys, I'm at the top! I need the cure! Peter: I'm coming, I'm coming, I'm coming! Peter 3: Just wait your turn Doc, I'll be right back. Peter 2: It's okay, Flint. We're gonna get you home. Just... stay right here. Peter 3: How do we stop him? I've never seen him this powerful. It's the arc reactor. We gotta get it off him. Electro: You're not gonna take this away from me. That's not gonna work. Peter: Okay, we've gotta do this up close. Peter 2 go right, Peter 3 go left. On me. MJ: All right, we're gonna do it again. We're just gonna keep trying. Alright. We got it. Ned: I got it. Got this. MJ: Close the portal. Peter: Oh, no. No, no, no! MJ: Ned, that is a lizard, and we should... Peter: Run! Connors, stop! Electro: Yeah. Otto: Leave them. They're mine. Electro: I don't need your help. I got it just fine. Peter 2: Dr. Octavius. No. Electro: What are you doing? Get it off me! Otto: There you go. Peter: MJ! MJ: We gotta hide this thing Ned: Okay. Right, right, right. Dr Strange: Where is he? Ned: Wait, wait, wait! Before you do anything, Mister--- Doctor Strange, sir, well... Peter's plan is working. Dr Strange: What plan? Ned: He's curing them. Peter 3: Dr. Connors? Welcome back, sir. Dr Strange: Well, I'll be damned. Did you just open a portal? Ned: Yes, yes, sir. I did. Peter 3: Max. Max... Max: Don't worry. - I'm out. Empty. Peter 3: You sure about that? Max: I'm back to being a nobody. Peter 3; You were never a nobody, Max. Max: Yes, I was. Yes, I was. You don't see me. Can I tell you something? Peter 3; Yeah. Max: You got a nice face. You're just a kid. You're from Queens... You got that suit... You helping out people... I just thought you was gonna be black. Peter 3: Oh, man. I'm sorry. Max: Don't mind it. There's gotta be a black Spider-Man somehwere out there. gddmn eels. Otto: The power of the sun... Peter 2: in the palm of your hand. Otto: Peter? Peter 2: Otto. Otto: Oh, it's good to see you, dear boy. Peter 2: It's good to see you. Otto: You're all grown up. How are you? Peter 2: Trying to do better. Peter: Strange, wait... Dr Strange:,I've been dangling over the Grand Canyon for twelve hours! Peter: I know. I know, I know, I know. I... I'm sorry about that, sir. I mean... Peter 3: You went to the Grand Canyon? Peter 2: He could've used your help. Peter: No, no. It's okay, it's okay. These are my new friends. This is Peter Parker, he's Peter Parker. Spider-Man, Spider-Man. They're mes from other universes. They're here to help. This is the wizard that I was telling you about. Strange; Look, I am really impressed that you managed to give them all a second chance, kid. But this has to end, now. Goblin; Can the Spider-Men come out to play? Peter: Strange, no! Peter 3: Are you okay? MJ: Yeah. I'm okay. Are you okay? Ned; Thank you, Mister Cape, sir. MJ: Ned! Peter: MJ! MJ: Peter? Peter: Ned! MJ; Peter? MJ: Hey. Peter: Are you okay? MJ: We're okay. Goblin: Poor Peter. Too weak to send me home to die. Peter: I just wanna kll you myself. Goblin: Attaboy. She was there. It doesn't mean... I may have struck the blow. But you? You are the one that klled her. Norman: Peter? What have I done? Peter 2: It's you. Peter 3: You okay? Peter 2: Yeah, I'm good. I've been sab before. Peter: Hey. Peter 3; Hey, nice catch. Nice throw Peter 2: Is that happening? Or am I dying? Peter : I gotta go. Peter 3: Yeah. Yeah, I got him. Peter: What's happening? Strange: They're starting to come through and I can't stop them. Peter: There's got to be something we can do. Can't you just cast a spell again? Like the original way. Before I screwed it up. Strange; We're too late for that. They're here. They're here because of you. Peter: What if everyone forgot who I was? Strange: What? Peter: They're coming here because of me, right? Because I'm Peter Parker? So cast a new spell. But this time, make everyone forget who Peter Parker is. Make everyone forget... Me. Strange: No. Peter: But it would work, right? Strange: Yeah, it would work. But you got to understand, that would mean everyone, who knows and loves you We'd... We'd have no memory of you. It'll be as though you never existed. Peter: I know. Do it. Strange: Then go and say your goodbyes. You don't have long. Peter: Thank you, sir. Strange: Call me Stephen. Peter:,Thank you, Stephen. Strange: Yeah... Still feels weird. Peter: I'll see you around. Strange; So long, kid. Peter; I think this is it. I think you're about to go home. But I... uhh... Thank you. I just wanted... I wanna tell you that... I really don't know how to say this, like... Peter 3: Peter. Peter: I want you to know that I... Peter 2: You know. It's what we do. Peter: Yeah. It's what we do. Right. I gotta find Ned and MJ. Thank you. Thank you. Thank you. Thank you! I guess I'll see you. Peter 2: Keep safe. Peter 3: Bye. You're in so much pain, huh? Peter 2; I am. Peter 3; Yeah. Peter: Are you okay? MJ: Yeah, we're okay. Peter:,Oh, my God. You're bleeding. MJ; No. I'm okay. Peter: Are you sure? MJ: I'm fine. I promise. We should go, right? Peter: You're gonna forget who I am. Ned: What? MJ; Peter, what are you talking about? Peter; It's okay... I'm gonna come and find you, and I'll explain everything. I'll make you remember me. It'll be like none of this ever happened. MJ: Okay? But what if that doesn't work? What if that doesn't work, what if we can't remember you? I don't wanna do that. I don't wanna do that. Peter: I know. MJ, I know. MJ: There's gotta be something we can do. We can come up with like a plan or something? There's gotta be something we can do. Peter: There's nothing we can do. But we'll be okay. Ned: Promise? Peter: Yeah, I promise. I'll come find you. Okay? Ned: I know you will. You better, if you don’t , I’ll just figure it out, I did it before, I’ll do it again Peter: I promise I'll fix this. MJ: I really hate magic. Peter: Yeah. Me, too. MJ: I love you. Peter: I love you... MJ: Swear that, you will tell me if we meet again. Jameson: It's been a few weeks since the fiasco on the Statue of Liberty, and Spider-Man's cultists continue to contend that the vile vigilante is a hero. But if he were a hero, he'd unmask himself and tell us who he really is. Because only a coward conceals his identity. Only a coward hides his true intentions. Rest assured, ladies and gentlemen, that this reporter will uncover those... Peter: Hi. My name is Peter Parker. You don't know me, but I... My name is Peter Parker and you don't know me, but... Okay... Hi. MJ: Can I help you? Peter:,Hi. Umm... My name is Peter Parker. And I... would like a coffee. Please. MJ: Okay, no problem, Peter Parker. Donuts for my fellow engineer. Ned:,Wait, what? MJ: MIT, they have the engineers. Ned: Oh, right, right, right. I should probably know that. Look at you with the school spirit. MJ; If you tell anyone I will deny it Peter Parker? Peter Parker? Your coffee. Peter: Right. Thank you. Are you excited for MIT? MJ: Right. Yeah. Yeah, actually I am excited, which is weird because I don't really get excited about things. I kind of expect disappointment. Peter: 'Cause then you'd never actually be disappointed. MJ: Right? Yeah. Right. It's just... I don't know... It just kinda feels different this time for some reason. That was... Peter: You okay? MJ: Doesn't really hurt anymore. Is there anything else? Peter; No. Thank you. MJ: No problem. Peter: See you around. Happy: How do you know her? Peter: Through Spider-Man. - You? Happy: Same. I lost a good friend a while back. It felt like this. Hurts cause they're gone, and then it hurts all over again because you remember what they stood for, and you wonder... Is all that gone too? Peter: No, it's not gone. Everybody she helped... they'll keep it going. Happy: You really think so? Peter: I know it. Take care of yourself, okay? Happy: Yeah. Nice to meet you. Eddie Brock: Okay... Okay, I think I got this. You're saying that this whole place here... It's just tons of... Superpeople. Venom: And he has been saying it for hours. Eddie: All right, tell me again. I'm sorry. I'm an idiot. There was a billionaire. He had a tin suit, and he could fly. Right? Okay. And there was a really angry green man. Bartender: Hulk. Eddie: Hulk. Venom: And you thought Lethal Protector was a shit name. Eddie: Yeah, because it is. Eddie: Now, tell me again about your purple alien that loves stones. 'Cause I'll tell you what, man. Aliens, they do not love stones. Venom: Eddie, don't start! Eddie; You know what aliens love? Eating brains! Because that's what they do. All right? Bartender; Senor, he made my family disappear. For five years. Eddie: Five years? That's a long time. I mean, maybe I should go to New York and speak to this, Spider-Man. Venom:,Eddie! We are drunk! - Let's go skinny-dip! Eddie: I don't think we should skinny-dip. Bartender: Sir, you have to pay your bill. Venom: What is happening? No! Bartender: And there he goes. Without paying the bill, no tips, nothing.	{"type": "movie", "show": "Spider-Man: No Way Home (2021)", "episode": ""}	foreverdreaming
Shuri: Time is running out, allow me to heal my brother of this Illness , I won’t question your existence again Give me the control Shuri: What’s the conference rate? Griot: Thirty one per cent King T’challa’s heart has fallen to twenty one beats per second Wakandan: You should go be by his side Griot; One per cent Shuri: Print it! Griot: I am aware of the urgency but I must warn you, this synthetic heart shaped herb has minimal chance of producing the desired effect Shuri: I don’t care ! It has to work What’s my brother’s heart rate? Ramonda: Your brother is with the ancestors ( Speaking Xhosa) We give thanks for the gifts of the black panther, t’challa son of t’chaka Descendant of the revered King bashenga It is an honour to invite Queen Ramonda sovereign ruler of the land of Wakanda It is an honour for me to invite Queen Ramona leader of the sovereign land Wakanda U.S Secretary of State: I speak for all member states when I say I am deeply disappointed in Wakanda’s failure to stand by promises to participate in international efforts, to tackle global challenges, to share resources , full cooperation concerning Vibranium ( speaking French) French Secretary of State; France have learnt Vibranium can be used to create wapon of mass destruction, it triggers no known metal detector, it is a thrat to global security and the non proliferation Queen Ramonda ; It has always been our policy never to trade vibranium under any circumstances not because of the dangerous potential of vibranium but because of the dangerous potential of you You have foreign sovereignty here, we know what you whisper in your holes of leadership and in your military facilities , the king is dad, the black panther is gone, they have lost their protector , now is the time to strike Okoye: Aneka where is your spear? Aneka: Shuri gave me these, I like them better Okoye: Our foremothers gave us these spears because they are besides elegant and deadly, that will not change under my watch I told you not to bring them Ramonda: An attck on one of our outreach facilities Proof of involvement of of a member state is being uploaded to your mobile devices as we speak and for the identity of the attackers Let our gracious response to This incursion be an olive branch, further attempts on our resources will be considered an act of aggression and met with a much steeper response, we mourn the loss of our king , Wakanda has not lost her ability to protect our resources, ongoing efforts to find vibranium outside of Wakanda and wish you the best of luck Dr Graham: I thought you retired Smitty: I thought I had too , one in a billion chance of finding Vibranium in the ocean Dr Graham: That’s enough Salazar: At 800 per cent passing through thermal ravine Jackson: My life support is in the green Salazar: The drill seems to make contact with substance Jackson: Whatever it is, it’s solid , never seen drillbits get chewed up like this Dr Graham: Can you give us a visual? Salazar: It’s a phantom jellyfish , I’ve never seen one this colour Dr Graham: Salazaar we just lost Jackson’s vitals, can you see him? Rita Salazar: No, he’s gone Dr Graham: What do you mean? Salazar do you copy Dr Graham: What’s that sound? Smitty: What’s making that sound? Some kind of sonic attck Dr Graham; It’s Wakandans, has to be Smitty: Henderson! Henderson! Henderson: What’s going on? Dr Graham: Where’s our strike team? It wasn’t Wakandans, they’re blue, everyone’s dad Reporter: Queen Ramonda and the nation of Wakanda gave an electrifying speech as cptive mercenaries were escorted onto the floor of the UN Okoye: Approaching the river border, we are home Griot: Princess Shuri Shuri: Just a moment Griot: I understand Shuri: You’re disturbing my train of thought Ramonda: Shuri Shuri: Mother Griot: I was trying to tell you the Queen is here Ramonda: That thing unnerves me, artificial intelligence will kll us all Shuri: My A I is not like the movies, it does exactly what I tell it to Ramonda: If only children Everyone seems to be working vigilantly Shuri: Rapid emergency response team , there can be any number of unknown thrat on the horizon and they’re creating solutions Shuri: Exo suits for our army , It grants the user super strength , durability but as always Okoye had notes Ramonda: What were her notes Shuri: She hates them Ramonda: What about recreating the heart shaped herb? Have you made any progress on that? Griot:Excuse me princess, Aneka daughter of Ya is trying to reach you again maybe you should Shuri: Maybe you should continue your calculations as I instructed The mantle has unified our nation for centuries Shuri: The Black panther is a relic, I wasn’t trying to save the mantle with the herb, I was trying to save my brother Ramonda: Do you know what the day is? Shuri: Tuesday Ramonda: The date child Shuri: Brothers passing Ramonda: One year ago today Ramonda: You can leave your Komoyo beads here, you won’t need them where we’re going and your earrings and the other one Queen Ramonda: Sit here with me and with yourself, the only way to heal from the wound caused by your brother’s death Shuri: My brother is gone, I’m moving on Ramonda: Your brother is dad, he is not gone I had to lead a broken world and a wounded nation but I still took time in the bush , I did this ritual I’m about to show you , I saw him in the breeze Pushing me gently but firmly Felt his hand on my shoulder , it took some time but he was there Shuri; He wasn’t there mother, What you saw was a construct of your mind brought on to give you comfort Queen Ramonda: And what construct does your mind create when you think of your brother ? Does it offer you comfort or torment? Burning of the funeral garments marks the end of the mourning phase and the beginning of a new relationship with our loved ones who have passed on Shuri: If I sit and think about my brother for too long, it won’t be these clothes I burn, it will be the world and everyone in it There’s something I need to tell you about your brother Shuri: Mother wait, what are you doing? Shuri: This can’t be part of the ritual Ramonda: It isn’t! Queen Ramonda: Stop right there! Who are you? How did you get in here? Namor: This place is amazing, the air pristine but the water , my mother told me stories of a place like this , a protective land with people that never have to leave, change who they were ,what reason do you have to reveal your secret to the world ? Ramonda: I’m not a woman who enjoys repeating herself , who are you? Namor: I have many names, My people call me Ku kuh’l ban, my enemies call me Namor The American military detected vibranium underneath my nations domain I was able to stop them from mining it , this machine was signed by a scientist Ramonda: Vibranium only exists in Wakanda Shuri: Mother he’s covered in it Namor: your son exposed the power of vibranium to the world Other Nations have gn searching for it, His choice has compromised us I think Wakanda can find this scientist and bring to me, It is only fair Wakanda helps to solve our dilemma Ramonda: You do not sneak into my country and tell me what’s fair! Namor: I have more soldiers than this land has blades of grass and they have incomparable strength, I would hate to come back under different circumstances When you have the scientist, blow into this, I’ll be there shortly For your own sake do not mention my name outside of Wakanda Shuri: Did you see the wings on his ankles? M’baka: The river border has been breached , if my soldiers were present , this fish man would be bound before us as we speak Okoye: If your muscle brains were present , they’d still be there choking on their fuzzy adornments You bald headed demon Ramonda; Show some respect These men should be ashamed to show their faces Watch your tone Jabari! He was not on the aerial surveillance Nothing shows up on the radar So he swam under water for one hundred miles? He wants us to deliver one scientist so he can kll them , do it Elder: We’ve never had to face an enemy with access to vibranium before M’baka: Because this wise council gave Killmonger the throne and he brned up your precious herbs Ramonda: What would you have us do N’baka? M’baka: Find this fish man and kll him , if you do what he is asking, what’s to stop him from coming back and asking for more? Okoye: Is it just me or is this thing getting uglier? Shuri: It’s just you Shuri: Can detect vibranium through stone even metals Custom parts, others seem to be gathered from a junkyard Ramonda: This changes everything we know Okoye: The great mound, legends, fables , those stories are seared in my mind Shuri: That sounds very painful Okoye: I’m struggling to believe Vibranium existing outside of Wakanda Shuri: Maybe there was more than one meteorite , this planet is covered mostly in water so it’s possible the rest ended up there Okoye: It may do her some good to get out I can do this American operation with my eyes closed Ramonda: That’s not what I’m worried about, This Namor snuck past our defenses Okoye: That will not happen again Ramonda: He was not alone Okoye: She’ll be with me Shuri: So when are we leaving to see my favourite coloniser? Ross: You didn’t need to call? Okoye: Now why would I have your number We need to find a scientist Agent Ross: So it was you guys in the Atlantic? Mining ship, a lot of casualties Okoye: What happened? Agent Ross: Seriously? It was a joint operation, us and the Seals, thirty of their best guys , two of our best officers, friends of mine , gone , they were tracking vibranium Okoye: Wakanda had nothing to do with it Ross: The way this is supposed to work is I give you information and you reciprocate Shuri: For our own safety we cannot tell you, It’s imperative we get to the scientist before anything else happens , you owe me Ross , you owe my brother Ross: Agents have been sent to death for lesser things than what I’m about to give you , directors, watching me like a hawk Okoye: We will be very careful Ross: Not just careful, you gotta be fast, the U.S need another machine and this kid is the only person in the world who knows how to build one Shuri: A kid? Riri: You forgot to venmo me Student: Must have slipped my mind , eight hundred? Riri: Eight hundred was yesterday Ramonda: School? Tell me it is a professor Shuri: It’s a student Okoye: I’ve got it from here Shuri: Maybe I should speak with her, It will Be more discreet Okoye: I can be very discreet , it’s the makeup ? It’s the wrong shade isn’t it? Shuri: I can blend in as a student Okoye: Five minutes Shuri: Riri Williams Riri: I don’t do drop bys, gotta go to the website Shuri: It’s an encrypted file, wanted to airdrop it Riri: You’re Princess Shuri? Shit am I getting recruited? Shuri: No I ain’t making no machine for no CIA, I made that for my metal class Shuri: A school project? Shuri: How old are you? Riri: Nineteen Shuri: Brilliant at a young age is not always accepted by the elders Shuri: How long did it take you? Riri: Couple months, the hardest part was finding a , shit did I piss off Wakanda? Shuri; Not just us, This place is no longer safe for you, gather your things Riri: I got a differential class in like fifteen minutes Shuri: I had it under control Okoye: I said five minutes, I gave you six Shuri: You brought a spear in here! Riri: You brought a spear in here! Okoye: I like her Okoye: I’m giving You two options, come to Wakanda conscious or unconscious Riri: You need to be conscious of the way that you look walking around with that ash on your head Okoye: It’s funny! Shuri: You look good Shuri; Leave her to deal with the merman with winged ankles who wants to kll her all by herself Riri: I fix a few trucks for head sanitation, he lets me work out his garage Riri: 2065 byte encryption Shuri: That’s impressive , you ever lock yourself out ? Riri: I had to build a functional quantum computer to break into my own encryption I thought you said a merman was after me, that’s the feds I do not need this shit right now! Riri: I think I’m going to take my chances with this merman because at least he never brought the FBI to my garage Okoye: Namor sunk an entire navy ship of cia operatives because of your little machine So those po po out there are the very least of your worries Shuri: General they’ve got us surrounded , maybe we should just split up Okoye: Out of the question Does this vehicle work? No Shuri: Everything in this lab works including this five Okoye: Don’t even think about it besides there are three of us Shuri: I knew it! Don’t tell me you built this in two months ? Riri: I spent years on this on and off Shuri; Have you flown it yet? Okoye: That thing can fly? Riri: There’s an entire YouTube channel dedicated to sightings of me Shuri: That’s awesome Agent: Oh shit, she’s got an Iron man suit! Griot: Yes princess , Remote piloting Okoye: Take me to the princess or I will drive my spear so deep into your CPU, you won’t be able to process basic input for a millennia Griot: Just one moment general She’s all yours general, manual drive engaged Princess a surveillance drone is locked onto you Shuri: How high? Griot; Thirty thousand feet Shuri: I don’t think you can reach that drone without an oxygen mask Okoye: Shuri! Shuri! Okoye: Take another step, I will kll you all ( speaking Mayan) Attuma: kll the woman first Agent : Is she blue? Attuma: ( speaking blue) You’re not worth my blade Namora: What is taking so long? Enough games Griot; Acrivating interpretation Shuri: I am Shuri princess of Wakanda, I demand you bring me to Namor, do not bring harm to this girl Griot: Should we take them alive? Yes Attuma Breathe Ross: Any witnesses? We think it’s Wakandans, our field office in Langley got a tip they were coming Ross: Who made that call? She did Ross: Director de Fontaine Valentina: Really? Ross: Agent thinks it was Wakandans Valentina: Been on every one of them since they took out our ship You’re looking good Ross: I try Valentina: put that home gym in? Ross: Yeah last year Vallentina: Maybe I’ll drop by, jump on your peloton Howdy, I’m special agent in charge Valentina: Good for you, wanna walk me through the evidence? Valentina Allegra de Fontaine: Got a full tnk of gas? Give me a ride back to Langley? Agent Ross: That’s an eight hour drive Valentina: Talk about the hits, Wouldn’t mind apologising for a couple of things I said during our marriage Okoye: They were blue, had superhuman strength, came from the water on the back of whales , I struck three of them with blows that should have klled them but they rose again, I request we leave immediately Ramonda:,You will be stripped of your rank as general and your status as Dora Milijae Okoye: I have given everything , allow me to die in that room , allow me to make this right She raised her spear against her husband for Wakanda Queen Ramonda : Where is her treacherous husband? In a place she can visit if she wished, mine is with the ancestors ! I am queen of the most powerful nation in the world and my entire family is gone! Have I not given everything! I stood by you as Killmonger took the throne , you and countless others in this room stood by his side, as I went running to the jabari for protection, I warned you about taking my daughter on this mission so today I am done Queen Ramonda: Griot , were you with Shuri when she was abducted? Griot: I was Are you able to track her Komoyo beads? Ramonda: Everett Ross Ross: Queen Ramonda Ramonda: what are you doing with shuri’s Komoyo beads? Ross: I didn’t know they were hers, I found them at a pretty ugly crime scene , Do you have the student? Ramonda: Shuri was trying to help her when they both were taken Ross: Taken by who? I’m worried my agency might be onto the fact I pointed Shuri and Okoye in the right direction I want to help but I can’t if I don’t know what’s going on I’m afraid there’s a new world power Ross; A country who’s already on our radar or you mean someone else? Ramonda: That’s all I can say Inform me if your government chooses to act on their suspicions Ross: If there’s anything I can do, let me know, I owe shuri my life Ramonda: Griot did Shuri have her earrings? Griot: I lost track of them in the North Atlantic but the people who took her spoke yucatac Mayan Nakia: Grow what we eat Ramonda: I recognise some of the concepts but you are using different materials It’s been six years since you left us , we thought you would come for the ceremony Nakia: I was afraid of how final the funeral Ramonda: No matter where you go, you are still Wakandan and you know death is not the end Nakia: How is everyone? Shuri has been taken Riri: Isn’t there some new black panther you can call to come get us? Shuri: It doesn’t work like that, the black panther is gone Riri: Y’all stop having black panthers when I get kidnapped? Riri: That’s some supervillain shit, Princess Leia, belle from beauty and the beast, that white chick from Indiana Jones ( speaking foreign language) Nakia:,Hello ma’am , nice to meet you What can I help you with? Nakia: My name is Maria Aldana , I’m a student from Merida Woman: Go away, I’m not interested Nakia; Yes of course, I don’t mean to bother you Just give me one second, my professor mentioned a study where you told researchers You encountered something, someone unimaginable Nothing good came of speaking with those outsiders Nakia: I’m begging you Leave now I’ve encountered him too ( speaking Xhosa) Sometimes we would catch glimpses of a man with winged feet on the shore, ku Kal ban , our winged serpent God from this realm and realm below Nakia: I would very much like to visit that beach Ku kuhl’ban has been around longer than you and I, Others who have searched for him with ill in their hearts never returned , lost to the depths forever Shuri: These are american artefacts, sixteenth century, have you been alive since? Shuri: Your mother was human Namor: She was Shuri: How? Namor; How is never as important as why Facing starvation wr, and disease, my people turned to our god of rain abundance, gave them a way , a way to save his people, my mother was pregnant with me at the time, she did not want to ingest the plant for fear of what it may do to me but the Sharma was convincing They all fell sick , their lives, their existence there ended The plant took away their ability to breathe air but made them able to Draw oxygen from the water They swam away from wr and diseases The plant gave me wings on my ankles and ears that pointed to the sky , I was a mutant , I could swim to the sky, age slower breathe the air our ancestors breathed As she grew older, My mother mourned the life on land she once knew and died of a broken heart Made me promise to bury her in the soil of her homeland, nothing could prepare me for what I found there The Spanish man cursed me as he died by my hand, the child without love, I have no love for the surface world, I took my name from there Shuri: Why are you telling me this? Namor: So you understand, I have to kll the scientist Shuri: What if I take her to Wakanda? You have my word she will not leave my country I can not risk that Shuri: I would like to see your nation You can’t go down there in that, the air will become toxic and the pressure will break every bone in your body or you can wear a suit , we have some of those Namor: I know you wish me to spare the scientist but you see what I have to protect Griot: Your hunch was correct Nakia , I’ve locked onto a location The signal is coming from a underwater cavern approximately 140 metres below the surface Nakia: Queen mother I found the It’s coming from an underwater cave, if she’s down there, I’m sure to encounter resistance, how do you wish me to proceed? Ramonda: Retrieve the princess by any means necessary, I will attempt to draw Namor out Shuri: My brother , he suffered in silence, when he asked me for help, I couldn’t , how does that make sense? Why would the ancestors give me all these gifts and skills to save my brother and I couldn’t ? Namor: I don’t have an answer to that question My ancestors would often say Only the most broken people can make great leaders Shuri: I admire what you’ve built and how you protect your people but as princess of Wakanda, I cannot stand for you klling that girl Namor: I need to to know if Wakanda is an ally or an enemy , there is no in between Shuri: My nation will not rest until I am returned , I’m not leaving without her , we need to find a peaceful way Namor: For centuries, the surface people have conquered and enslaved people like us I must prepare my people. That machine is a sign the time is now Shuri: You plan to wage wr on the world and you want Wakanda to help you ? That’s madness Namor: There is not a nation that wouldn’t plunder Wakanda if given the chance, make an alliance, we can protect each other With the thrat eliminated, the scientist will be returned Shuri: And if Wakanda doesn’t accept? What then? Namor: The scientist dies and Wakanda will be the first to fall Shuri: An attck on my people? Yes, I want you to listen to me, wakanda cannot win a wr with Talokan Namor: I heard you that night with your mother at the river , you said you wanted to burn the world, let us burn it together U.S Secretary of State: Queen Ramonda won’t sell us any Vibranium and now they’ve abducted the woman who built the machine Ross: With all due respect Riri Williams is a child prodigy whose running circles around her professors The Wakandans were recruiting her as part of their outreach program nothing more and then you guys send in a Swat team under the cover of night to arrest the princess of an international superpower U.S Secretary of State: The President wants to take offensive action against Wakanda Valentina: What type of offensive action? U.S Secretary of State: Destabilisation Val: Well special agent Ross is our expert so Ross what do you think? Ross: My sources are telling me there’s someone else out there Secretary of State: Another nation? Ross: I don’t know, could be, you’ve got to give me enough time to investigate this properly otherwise we could find ourselves at wr whose military capacity we can’t comprehend Val: I think he’s the expert Ross: I think it would be a mistake to attck Wakanda Ramonda: Yes? Ross: We have a problem Riri; What happened? Shuri: He wants to go to wr with the surface world and asked me to help him Riri: We ain’t ever getting out of here Ramonda: Is my daughter alive? Namor: the princess is alive and well, she requested to be taken to Talokan, she will remain their for the time being Ramonda: What can I offer you in exchange? Namor: Nothing Ramonda: The Americans are preparing to blame Wakanda for your attck on the mining ship, return my daughter or I will inform them of your existence Namor: If you Tell the Americans about us, if you try to find us , if I spot a single ship in the ocean, I will kll the princess, I will come to Wakanda and kll you Shuri: Give me your beads, I can save her Nakia: I ht her with a sonic round, it’s lethal from this distance Shuri: Don’t you understand? This will mean wr ( In Mayan) Namora: They came while you spoke to the Queen , we should never have trusted her, the princess has seen our home, what’s stopping them from coming for Talokan? Namor; I will I was blinded by hope of partnership, I have compromised us all , Talokan will not move, Namora, Attuma, they will never think of approaching Talokan Aneka: Thank the ancestors , I just came to return these Shuri: Keep them , you might need them soon Aneka: Did you get that from down there? Is it true you saw an underwater umpire? Shuri: It’s beautiful , his people are dangerous Aneka Ramonda: So Miss Riri Williams what do you think of Wakanda? Riri: The stories don’t do this place justice It’s great , I would really like to go home, can I at least call my mum? M’baka: the princess has been brought home by the wr dog Nakia , loyal to Ackuban , the spy saves Wakanda once again , the Queen will reward her with lifetime banishment I’m sure Okoye: After Thanos’ attck , when you left without saying a word, it hurt Nakia: I regret not being there with you all, it was not easy, he was king and the black panther to everyone, to me he was everything, my T’challa , when he was taken away from me just like that , I had to step away and let myself break, I couldn’t keep going like nothing had happened you know? Ramonda: Aneka do not let her leave the laboratory Shuri: We can’t hear you, you’re breaking up Aneka: You just hung up on the Queen Shuri: No, I hung up on my mum, there’s a difference M’baka: The fish man Shuri: He is too fast Aneka: He’s faster underwater Okoye: Keep her back! Namor: She did this, in one week’s time I will return with my entire army , you will join us against the surface world or I will wash Wakanda from the face of the Earth, bury your dad , mourn your losses Shuri: Mother! Namor: You are Queen now M’baka: You must mourn her in accordance to the rituals of your ancestors , do not bury yourself in your technology Shuri: Why are you here? M’baka: I promised your brother I would provide you with console and protection , I am in need of your advice , the tribal elders have approached me with a proposition, they wish to evacuate the city and set up camp in jabari land Shuri: Here to ask help from a child who scoffs at tradition M’baka: The world has taken too much from you to still be considered a child , it is in my people’s interest to know which way your mind is leaning? Shuri: The elders are desperate, the people are vulnerable, if you were to provide for them, they would be in great debt to you M’baka: And your heart, which way is your heart leaning? Shuri: I just buried the last person who truly knew me , my heart was buried with her Vallentina: I wonder what else your friends are keeping from you Ross: What are you talking about? I have no unsanctioned contact with the kingdom of Wakanda Vallentina: What about the beads? Ross: What? Vallentina; I had them bugged before you ever even got there, I’ve been privy to every conversation you’ve had including that treasonous call you had with the Queen may she rest in peace but it’s good well for us Ross: You know what! They saved me life, do you ever think for one second about what they could be doing? What we could be doing if the US were the only country in the world with Vibranium! Vallentina: Actually I dream of that Ross: Val It’s director Fontaine Shuri: Let’s start with running a comparative test between our attempts to create a synthetic heart shaped herb and the viables from this bracelet Since this was grown from vibraniun based soil, it might have similarities we can exploit,Upload my brothers DNA also Shuri: What’s the conference rate? Griot: Ninety eight per cent, would you like me to print it? Riri: Why does he look like that? Shuri: His physiology is different, none of them fly or have pointed ears Riri: They had water over their mouths and on their necks , he didn’t have that Shuri: Several organisms don’t need gills to extract air from the oxygen, it’s like jellyfish , just absorbs the oxygen from his skin It’s a process called Both: fusion Riri: Before he took out your plane, he jumped back into the water, what if that‘s what makes him strong , he’s breathing the air as well as gets water from the oxygen on his skin, if we can find a way to dry his ass out , he won’t be as strong How old were you when you built your first machine Riri: Three, my stepdad was a car mechanic, wanted me to build planes, gave me tools, let me work it out , who taught you all that you do? Shuri; My big brother Okoye; I was the tip of the spear of Wakanda’s army, this is not me besides I am a civilian now, I turned in my wapon Shuri: I built you a new spear Okoye: A new spear? What is this contraption called? Shuri: Midnight angel Okoye: Midnight angel? Okoye: I looked for you at the Jabari outpost Aneka: I will not be forced from my home Okoye: You have such a rebellious spirit, tell me why did you join the Dora Mijae? Shuri: I thought you’d be back in Haiti by now Nakia: I’m still Wakandan you know , so this is what you’ve been up to? Shuri: Yes Nakia: What You have here now is a chance to restore Wakanda’s protector, it would be the greatest gift since Bashengas discovery Shuri: Griot Griot: Yes princess Shuri: Print it Nakia: How do we know if it works? Sheri: If it glows Nakia: Are You sure you don’t want me to bury you? Shuri: No I need you to have access to my chest in case I go through cardiac arrest Riri: She’s kidding? Nakia: Allow this heart shaped herb to give you the strength of the black panther and take you to the ancestral plane Shuri: Mother, T’chaka Killmonger: little cousin Shuri: How? Killmonger: How is never as important as why isn’t that right? You chose me Shuri: Impossible, I’d never choose you Killmonger: why’d you take the herb? Shuri: To see my family Killmonger: Nah that’s bullshit , you didn’t believe the ancestral plain was real , why’d you take the herb? Don’t have to lie to me Shuri: So I can be strong Killmonger: Strong to do what? We’re more alike than you think , I took it to avenge my ancestors too Shuri: I am nothing like you, you took it for yourself and destroyed the rest, unworthy king afraid of being replaced , coward Killmonger: I had the courage to do what is necessary to protect Wakanda, how many people like your scientist did Wakanda protect before I took the throne? cowards were the panthers before me, t challa Shuri: Don’t speak about my brother, you’re the reason he’s dad, You destroyed the herb, left us with no protector then Namor struck and klled my mother, their blood is on your hands Killmonger: Nah that ain’t on me, don’t speak that way about your mother, she sacrificed everything to save a girl from a lost tribe, your father he was a hypocrite, he would have klled that girl , he klled his own brother and T ‘ Challa was too noble, he let the man who mrder your father live, are you going to be noble like your brother or take care of business like me? Nakia: Who did you see? Shuri: No one , it didn’t work, I failed They abandoned me Nakia: They would never do that I did everything I was supposed to, recreated the herb I did your stupid ritual and for what! What have they done for me Relax, just relax Riri: Can I get some of that? More people are coming from the city M’baka: They need more space, so what? You are visitors, it is a wonder anything gets done with you people M’baka; The black panther lives! Shuri: Namor believes we are on our knees, our Queen mrder, capital destroyed, the time to strike is now How do we kll him when we can’t find him? Shuri: Draw him out River tribe Elder; Here? Again? Shuri: No, a distant location M’baka: Assuming we can kll this man who can fly and is potentially as strong as the oak, is klling him the right thing? Elder: You were calling for his head when His only crime was intimidation M’baka: They do not call him general or king but Ku ku’hl ban River tribe elder: What is that? M’baka: Feathered serpent god, you think because we live in the mountains , we do not have access to books? Shuri: Namor is not finished , he wants to destroy the surface world , what are you afraid of? M’baka: wr , if he is a god to his people, klling him will risk eternal wr Shuri: Was my mother’s life not worth eternal wr? M’baka: Of course it was, of course it is, it is not what she wanted for you, it is not what I want for my people Shuri: You speak of her like she’s still here, she’s gone, she’s dad, Namor drowned her in front of me! Her hopes, her goals, her dreams it doesn’t exist, don’t matter, what matters is what I want and what I want is Namor dad Nakia: If we survive this, I want you to know you have a home with me in Haiti, take my hands, I want you to be honest with me, who did you see? If you go to wr for vengeance, it won’t fill the hole left from your loss, it will only make it larger, it will consume you Shuri: It already has Shuri: How’s it going up there Riri? Riri: Almost out of amo, I could really use my backup Thought you’d never ask Namor: Princess Shuri: No I am the black panther and I want retribution! Griot: Evaporation sensors activated Shuri: Need a glass of water? We lost the sonic transmitter M’baka: That can’t be good Griot: Panther the sea level has lost power and is experiencing significant casualties Griot: His spear is made of pure vibranium, the ship will explode any second Ironheart: I got you sis Get off me! ( speaking Mayan) Attuma: You speak the mother tongue, you can greet the ancestors with it Okoye: You will greet the ancestors Namor: It could have been different Killmonger: You going to be noble like your brother or take care of business like me? Shuri: I’m not like my brother, Namor will beg for mercy and I will stand and watch ( In Mayan) Namor: Imperius Rex Black Panther: Wakanda Forever! Yield, Wakanda will protect your oceans, yield Wakanda will protect your secrets, vengeance has consumed us, we cannot let it consume our people ( In Mayan) Namor: I yield ( speaking Mayan) Namor: Talokanile ex , let us go home , our fight here is done Black Panther; Wakanda forever! ( speaking Mayan) Namor: What is troubling you my child? Namora: I looked forward to fighting alongside you my entire life , to see you kneeling to the wakandans Namor: The black panther had every reason to k*ll me , why do you think she didn’t go through with it? The black panther is the most powerful person in the most powerful nation in the world but she has no allies , she has empathy for the people of Talokan, with this alliance Talokan will be stronger than ever, the surface world will come for Wakanda, they will turn to us, trust me Shuri; All set to head home? Riri: As long as you’re sure the police won’t be waiting for me when I show up at the airport Shuri; Don’t worry, took care of that You might want to slow down with your homework for hire , it might slip and I can’t help with that Riri: Needed to talk to me about something? Shuri: Your suit, it’s a great design but I can’t let you leave with it Riri: That’s cool, figured the least I could do was help Wakanda clean up my mess Shuri: Took a while to get every piece from the river but it was worth it Riri: It’s just like my dad’s car before he- Are you sure this is her? Shuri: Every part, have it shipped through Boston, be there before you arrive Riri: Sure you’re not trying to Slide to Chicago, catch a Bulls game? Shuri: Sounds fun but I have something I need to do I present to you Princess Shuri, the black panther! M’baka: The princess sends her regards but she will not be joining us, I M’baka leader of the Jabari, son of Wakanda wish to challenge for the throne There’s a tree blocking our path, how do you want us to proceed? Okoye: A coloniser in chains , now I have seen everything Nakia: Everything is set Shuri: I think I need to do this on my own Nakia: Shuri can we join you now? This is my son Tusan, Tusan this is your auntie Shuri Tusan: Hi Shuri: Tusan is a beautiful name, it has a lot of history Tusan: Thanks, yours is cool too I guess Nakia: We decided it was best he grow up here away from the pressures of the throne, your father, your ba ba prepared us for his death but he didn’t want us to go to the funeral, the time wasn’t right Shuri: Did my mother meet him? Nakia: She did My mum said you’re good at keeping secrets, is that true? Shuri: I can keep a good secret Tu San is my Haitian name Shuri ( speaking Wakandan) Who are you? My name is prince T’challa son of king t’ challa	{"type": "movie", "show": "Black Panther Wakanda Forever ( 2022)", "episode": ""}	foreverdreaming
Ow. MAN: Excuse us. Merry Christmas. WOMAN: Some people! Watch it. Drunk. Happy Christmas. Do you have any more subway maps? Merry Christmas. I thank you very much! I thank you very much! THUG 1: Yo, check estúpido. Where you going, bro? Yo, G, look like the five-0. This fcking guy ain't the five-0. Shut up. Just catch my back. You a cop, bro, huh? THUG 2: Let's go. Let's go, buddy. Let's go. I told you this ngga ain't no five-0. He's been drinking. Go back to sleep. It's cool. JOHN: Okay, he's checking out the D. He's checking out the D. We have two Hispanic males. Just wait to see if they're in the game or not. THUG 1: He's too stupid to be alive. Let's do this. Oh, shit. This shit looks familiar. You know what I'm saying? All right, he's got his slice. Everybody stay alert. THUG 1: ngga's got my ring. Been looking all over for that, man. THUG 2: Check that out, buddy. Oh, shit. He's wearing my watch. Nobody go till you see the sign. He's gonna pull his lapel. THUG 1: What you gonna give me for Christmas, white boy? Huh? THUG 2: Oh, shit! THUG 1: fck white boy. Bingo! Bingo! THUG 2: Shit! Stay. Get the fck out of my way! Yo, sucker! Move! Come on! Move, move, move! What the shit? MAN 1: Get out the way! CHARLIE: Come on, Grandma. Ah! Ha, ha, ha. No laying down on the job! CHARLIE: Glad my pain amuses you. MAN: Hey, jerk! JOHN: Come on, come on! Move! TA! TA! KOWALSKI: Wait. Wait. Slow down. Slow down. You got cops down there? Right. Understood. All right, listen up. Six line, Wall Street station. I want all trains north and south of that location to stop and stay. Do it. Doesn't he ever sleep? Yeah. During the day. In a coffin. Kowalski. You're stopping trains. I wanna know why. We got a police action. Six line, south of Wall Street. Decoy cops in the tunnel. Where is the revenue train? We're holding it at Wall Street. Send it through. Sir, we got cops on the tracks down there. Send it through. Nothing stops the money train. Money train! Did I tell you I got a new plan? JOHN: Do we have to talk about this now? THUG 1: Get the fck out of the way! WOMAN: Here's the cash. Must've sold a lot of tokens today. TA! COP 1: Watch it, guys! Watch it. I think he's got a gn! COP 2: Watch it! Freeze! COP 3: They're not stopping! Freeze! CHARLIE: No! JOHN: Hey! Hey! Hey! Come on! Come on! Yo! CHARLIE: TA, man! Let me see your hands. COP 1: I don't believe this shit. Come on! Whoa, whoa, whoa. We're cops. Oh, jeez. Back up, man. Back up. Back up. Look who it is. It's the Transit Twins. Look at this. JOHN: Did you have to? CHARLIE: Oh, shit. You had to sht him? It's a fcking kid. Oh, damn, damn! COP 1: We got standing orders to drop anybody that comes at us. Does he look like a train robber? A what? Don't be trying to hang the blame on us here. CHARLIE: Are you fcking crazy? Huh? You ran him down the plat. If you didn't fck up, he'd be alive. What'd you say? Huh? I said you fcked up! Come on! You're not gonna ht him. Why not? Because I'm gonna ht him. fck. CHARLIE: Get the fck off of me! JOHN: Get the fck over here! Get off me, fck! WOMAN : Chief, those detectives from the decoy squad are here. PATTERSON: Yeah. Sit down. And don't bleed on my chair. No, sir, Chief Patterson. PATTERSON: That report says you're brothers. You, sir, are a ngro. He is white. Is somebody trying to jack me off? No, sir. Actually, we're foster brothers. Yeah. See, I ran away from this orphanage, and then-- PATTERSON: It's a touching story. I was gonna steal-- Shut up! Today, you caused my money train to arrive 46 minutes late. When my train is late, I take it as a personal sign of disrespect. The revenue collection for the entire subway system is under my direct command. My train. My people. My money. No one is allowed to dictate the movements of that train without my direct permission. Am I making myself clear? As a bell, sir. Your train, your people, your money. Shut up. Yes, sir. Now, are there any questions? Ahem. Just one. Why did you send the train into the tunnel when you'd been advised we were in there? Your situation last night didn't move me one way or the other. Anything else? JOHN: Yes, Chief Patterson. Your men sht the kid to shit. I mean, over a rope chain. Yeah, they sht him to shit. That's what they did. And you can't buy publicity like that. That boy didn't die in vain. As far as I'm concerned, he's a gddmn hero. Thanks to his sacrifice, the word went forth today: You fck with my train and I'll kll you. Now I'm gonna send one more message. I don't like you. So don't fck with my train again. If you do, we will tangle ass, and you will lose. You're dismissed. JOHN: I tell you, I hate bastards like that. There's no price you can put on a human life. That kid is dad, and he's worried about his schedule. You know what I'd like to do? You know what I'd really like to do? Maim him? No. sh*t him? No, no, no. I'd like to take his precious little train. Take the pacifier right out the baby's mouth. Hey, you say the word, I'm there. Word. All right, I'm there. Word. Well, let's do it, then. If I didn't have this badge, whoa, mm. What? We're cops, not nuns. We're not taking the train, man. Too late. CHARLIE: I sure do miss the old neighborhood. JOHN: Why don't you come back more often? CHARLIE: No, not enough action here. Well, maybe when I retire. JOHN: So you coming in? CHARLIE: No. I got a date. JOHN: You got a date? CHARLIE: Yeah. With what, a girl? What do you think? Or a deck of cards? You think I'm gambling again? Oh, yeah. Oh, yeah. Matter of fact, you got that look in your eye. I can see the aces jumping up and down right now. Yeah, well, I can see you got a suspicious mind. I know you. You got any cash on you? What for? Well, if you must know, I'm buying you a Christmas present. You're gonna buy me a Christmas present with my money? Yeah, so don't be stingy. You know, you never cease to amaze me. You don't have to count it. I trust you, man. I'm out. See you. So you're really gonna buy me a present, huh? I love you, man. If you love me, let me keep my money. Hey, where's your Christmas spirit? In your pocket. CHARLIE: Hey. Heh, heh. BOY: Look out. And none of them ties or cologne or stuff like that, all right? No. Yo, man, remember where you at now. Better change that walk. Yeah. All right. Yeah. There you go. Yeah. Hey, what it is. MAN: Whoa! Oh, you all right, man? Thanks, man, all right? Go ahead. MAN 1: A thousand. MAN 2: I'm in. CHARLIE: See the grand and kick it a grand. MAN 3: Not me. I'm out. Well, I think I'm gonna have to kick it to 5000. MAN 1: Too rich for me. Hm. Charlie? You gonna eat, or you gonna play cards? Sorry, guys. I'm making a mess. Uh... Call you. With what? You're light. Oh. Gentlemen, say hello to oyster mother-of-pearl. MAN: Hey, Charlie, let me get you a fcking parachute. Charlie, your brother had better get here soon, or he is going to be an only child. Okay, nobody move. CHARLIE: John, is that you, my brother? John. Thank God you're here! Charles, would you mind telling me what the hell is going on here? Apparently a man's word is no good here, John. You brought the money, right? Three hundred bucks. Hey, fck owes Mr. Brown 15,000. Fif--? Fifteen thousand? John, this is no time to be cheap. JOHN: You know what? Drop him. No! Hold it! He's kidding! Oh, the hell I am. No, no, drop the fck. These guys don't have a sense of humor! They don't know you're kidding! I am not kidding. I'm tired of this shit. You're the man. CHARLIE: No, no! Oh, oh, oh! Okay. Okay. Okay. All right. Look, what do you say, Mr. Brown, we make a deal? CHARLIE: Make a deal. Make a deal. Here's the 300 bucks now. The rest you get in a couple days. I'll pay you. I'll pay you. I swear to God. Okay. Reel him in. CHARLIE: Okay. Oh, guys. Oh, thank you, thank you, thank you. You guys are all right. I was kidding about the sense of humor thing. You know that. Thanks, man. For a second, I thought they were gonna prove I couldn't fly. You said you were gonna stop this shit. Yeah, well, I was. I mean, I had a sweetheart of a hand. You know, it was like there was no way I could lose. You couldn't lose, huh? You know how many times you said that? One of these days, I'm not gonna be there. Think I couldn't have got out of that shit? Whoa. If I hadn't saved you, you'd be a chalk outline right now. I'd be picking you up with a pooper-scooper. You don't understand. I have changed. And at a basic cellular level. I know you've heard this before, but I was up there, 51 stories, dangling, and I mean imminent death, I'm terrified and suddenly, it was like Buddha consciousness. I've read about it in books. That's it. God spoke to me. She said, "You have gotta stop gambling." I swear to Goddess that I'm quitting. I bet you 10 bucks says you can't do it. I'll make it 20. See? My point exactly. Come on, man. When did you lose your sense of humor? fck. Come on. You better stop drinking all that wheat-grass bullshit. You know, dogs pee in that grass. Come on. That's good for you too. And then I step over here, and I go to the top platform? Five? Kale. Nice. Kale. MAN 1: Hey, John, let's see that drunk walk again. MAN 1: You got it. MAN 2: Hey. Charlie, John, say hello to Grace Santiago. She's gonna be working with us. Hi. How you guys doing? Nice to meet you. Hi. Hey, yeah. How you doing? Welcome aboard. Thanks. She is smoking. I think I'm in love, man. Damn, this job is looking up. CHARLIE: All quiet by the D. All clear by the D. Okay, hold on, hold on. We got a Christmas shopper. White male, 19, with his girlfriend. He's dressed all black. Yeah, he's definitely interested. His girlfriend's trying to talk him out of it. Come on. Oh, now she's dragging him away. You do much decoy? Six months in the outer boroughs. I liked it. But this transfer's definitely a lucky break. Hm. And they say you guys are the best. Oh, well, modesty prevents me from-- Well, no, it does not. We are the best. CHARLIE: You see the way he's swaying? He's got his arm swinging, you know, like he wants to take a whiz but he forgot how? He got that from me. So where are you from? The Bronx. What, uh...? You living by yourself? Yeah. Shouldn't you be watching the D? Yeah. Whoa. Hey. Hang on. We got something going on here. WOMAN 1: What do we got here? They normally don't look this good. Ooh. And look at those big hands. WOMAN 2: Come here. Wait. What do you think? Let's take him home. You wanna do it? Come on. Let's do it. I'm into it, baby. You know that. Hey, honey. We're gonna take you home. Come on, baby. Yeah. You wanna come home with us? You are one fine-looking man. Look at this. Oh, no. Now, don't fight us. Look at that face. Come on, baby. Come here. We're gonna give you some loving. You know that. We gonna chew you up. Come on, baby. We won't spit you out. Ugh! Come on. Don't be-- Come on. Come with us. WOMAN 2: Come on. Shouldn't we break it up? He's tugging at his collar for dear life. Look at that, girl. Pretty scared. Oh, my man. Come on, baby. All right. There we go. GRACE: Hey! Hey! Come on, baby. That's my man! Get your hands off my man! What, are you bitches crazy? You wanna get hurt, that's what it is. We didn't know it was your man. We didn't know. Have a little Christmas spirit. Merry Christmas to you. Get the hell out of here! Yeah, you better run! Your fault. You-- I didn't start nothing. Turn my back for one minute, and you're dogging me? They were huge. Oh, she's beautiful. You wait right there, all right? You wait right there. And don't you let me see you talking to-- You're nasty. What you looking at? Kick your ass too. Shit. Alone at last. May I help you? I was hoping we could help each other. What do you want, sir? I wanna ask you a question. Do you know what it's like to smell your own flesh burning? You better hand out the cash, bitch, or I'll light you up. Okay. I gave you the money. I'm not in it for the money. WOMAN: Help me! CHARLIE: Oh, my God, it's the Torch. Call EMS, tell them we got a fre in a downtown booth. Ah! Oh, my God! GRACE: I'll take the street. Ah! Help! Help! TORCH: Hey! MAN: Holy crap! JOHN: Get down! Get down! Ah! Ah! Sick bastard. COP 1: Police! Freeze! COP 2: There he is! Don't move! GRACE: Get off me, you sick fck! COP 1: Hold it right there! JOHN: Let's go! Get on the ground! JOHN: Shit! Ah! WOMAN: Help me! Help me, please! No! No! JOHN: You're okay. CHARLIE: You're okay. It's okay. It's okay. It's okay. Hey. Hey, man. Johnny, Merry Christmas. Frank. Merry Christmas. What are you drinking? I'm gonna have the usual. Jack? Yeah, Jack. Straight up. You got it. No, no. Better yet. Give me two of those. Give me two Jacks, and give me two beers too. Okay, now, this right here is a little hard and heavy, so I think you should drink it with... a beer, because you obviously have been there before. FRANK: That's with me, Johnny. Damn. Ahem. There you go. You know, you took a pretty hard one today. Too bad that sick bastard got away. Yeah, well, it was his lucky day. That won't be happening twice. Don't bat yourself up about it because I talked with the EMS people and they said the token-booth clerk is gonna be just fine, so... Well, that's good to hear. Yeah. I'm glad to hear that. Absolutely. You know, I wanted to tell you that this job can be hazardous to your health if, uh, you take it too seriously. Yeah, well, I don't know no other way. Me neither. I mean, it does take a special kind of person to do this job, you know. Someone with dedication. Perseverance. Stamina. Strength. Courage. Cojones. Complete and utter stupidity. It's a curse. We're doomed. Uh-huh. Oh, yes. Oh, yes. Welcome to the team. Thanks. And how are my two favorite people? Hey. We were fine. He's a kidder. Ha, ha, ha. Oh, yeah. So, look, I went out, looked long and hard, and I found you something for your first day, I thought might be special. Aw . CHARLIE: The alcohol preserves it. Thank you. I don't know what to say. He probably stole it from some little Girl Scout or something. Oh, my-- Yeah, he's a nut. Why don't you grab us a couple cervezas. What? You expect Grace to pay on her first night? And you know I'm having that cash-flow problem. Cash-flow... Oh, you mean you're broke. Ha, ha, ha. Right, right, right. Means that you ain't got a dime to your name, right? Lovely flower, though. He's a great guy, huh? Mm-hm. Too bad he's gay. So how you doing? Yeah. How you doing, man? Good, man. How are you? Yo, man, let me ask you a question. What's that? How does it feel to be brothers with a white guy? Come on, man, I told you that story already. I was taking out the garbage. I heard this garbage can making noise. You found him, right? I found-- Well-- You didn't feed the fck? No, I didn't feed-- You can't get rid of them when you feed them, you know that, right? Look, I got something I gotta do. All right. Stay black, man. Yeah, man. Ain't got no choice. JOHN: Come on! The night is young! Come on! I gotta go. The night's a puppy. She say that she wanted to be here, but she's leaving. Amazing Grace Amazing Grace How sweet the sound How sweet-- Ugh! Man, oh, man. I'm in love, man. What are you talking about? Come on. You ain't got a sht. You better ease back. I am deeply in love, I think. Yeah, well, she is nice, isn't she? More than nice. I'd introduce her to Ma Di if she were still alive, you know? I'd bear her children if she'd give me the opportunity. Oh, yeah? Yeah. Well, you know what they say: May the best man win. Well, don't worry, Little Boy Blue. I intend to. Oh, come on, now, Dorothy. Click your heels three times and come on back to Kansas. You ain't got a chance. Is that right? That's right. That's right. Matter of fact, she didn't even keep the rose you gave her. That's fcked up. Yo, don't worry about it, man. You'll get another one, right? That is fcked up, man. I wouldn't go down that road with you. It's typical of your insensitivity, like pissing on that nice car. You know what? You just always gotta be the coolest. You always gotta be the smartest. You gotta be the most on top of it. I'm just kidding, man. No, you ain't just kidding. You're always that way. You gotta be the guy who gets the girl. You know what it was? Ma Di gave you everything, then you always expect everything. Whoa, whoa. What? Ma Di gave me everything? Ma Di treated us the same. No, no, no. God rest her soul. She treated me great. She took me in, she fed me, she loved me, but she loved you better. Yo, Charlie, Charlie, look. We got the same thing, all right? It's called sharing, right? I wear your coat, you wear my shoes. I use your toothbrush-- I wear your shoes. I'm always in your shoes. I'm always in your footsteps. I'm always Hook's little brother. Wait a minute. Whoa, whoa, whoa. Are we talking about shoes, or are we talking about Grace? We're talking about the fact that my ceiling is always your floor. Move out the fck building, then. I happen to like the building. Then what's your complaint? My complaint is you're always first, and I'm always one step behind. And you perpetuate that. What? Yeah. Oh, wait a minute. So now it's my fault, right? Partially. You're blaming that on me? You have plenty of opportunity, but you know what? You always fck it up. Well, now, that illustrates my point. You're calling me a fck-up. I did not call you a fck-up. I said you fck up. There's a difference. So you call me a fck-up, so I keep fcking up. It's a self-fulfilling prophecy. Are you listening to me? Yeah. Are you listening to me? I don't need this shit. No, no, no. Don't be putting your hands on me. What are you gonna do about it, huh? You over there. Ain't nothing between us but the fck air. Make a move. MAN: Give me your wallets, watches. You testing me? MAN: Yo, fck! Your wallets first, then rings and watches. MAN 2: Give it up, man. MAN 3: Yo, give up your shit. What, you deaf? MAN 2: Hey, come on, fck. MAN 3: I'm talking to your Casper ass. Give it up. MAN 1: You heard the man. I'll be... Damn. Shit. MAN 1: Easy. Easy. MAN 2: All right, chill out, white boy. JOHN: Okay, now look at the shit you done got us in. What, you gonna blame this shit on me too? Oh, this is definitely your fault. Oh, it was my fault? Who was watching the street? JOHN: I got to go out like this? I'm so sick of your shit. Stop trying to pin everything on me. This one is your fault. I don't care who caused this shit, just give it up! I didn't call you a fck-up. fck you. What do you mean? fck you! Yo, fck you! fck you! What you talking about? I'll bust a cap in your ass! Look, fck, I'm robbing your fck ass! Give up your shit! I tell you what. I'll get the shoes. Over here! Hello? JOHN: Yo, give up the shoes. I'll sht you in your good eye, man. This is a stickup, fck! A stickup! CHARLIE: I'll fill you so full of holes, you'll look like chocolate Swiss cheese. What the fck is wrong with y'all? Let's get the fck out of here. This is crazy. You took my Ice Cream records. Ice Cube! Ice Cube! CHARLIE: Ice Cube, Ice Pick, Ice Capades. I'm white. How should I know? They fcking sick. MAN 1: Let's get up out of here, man. You wasn't gonna really sht me, were you? Hell, no. You weren't gonna sht me, were you? JOHN: I mean, you had that Alabama look in your eye. CHARLIE: Yeah. You're lucky I didn't have a fre hose. JOHN: So you really think this girl can make a difference, huh? CHARLIE: Yeah, you know, I do. JOHN: Well, hey, man, go for it, you know? CHARLIE: Yeah? JOHN: Yeah, man, I'm out of it. I mean, you know. CHARLIE: You serious? JOHN: Look, I hope she makes you happy. CHARLIE: Hey, Merry Christmas, man. JOHN: Hey, Merry Christmas to you too, man. Department says we gotta take backup on during the holiday season. But it don't mean we have to like who they send us. Shut up and you just stay out of our way. Whoa, whoa. Hey, man, look, I'm sorry. Hey, we didn't ask for this assignment. You know, you don't have to treat us like we're gonna steal something. Yeah, really, man. I guess they're a little pissed off because we bat the shit out of their buddies on day shift. Hey, hey. Everybody chill. COP 1: Hey, hey, hey. We're here to help you out today, Dooley. It's all right, you know. Just a bit too much testosterone in here or something. Lighten up, babe. CHARLIE: You ought to try retaining. All right, back to your stations. We got a schedule to keep. Yo, Dooley. You're gonna take in a lot of money tonight, huh? Yeah, this time of year, 3, maybe 4 million. Damn. Now, that's money. That's a whole lot of money. Stop drooling. Stop drooling. It's not like we can't take a few mental notes. Check out that grate. DOOLEY: Look alive. We got something up ahead. COP 1: No problem. Just workers in the tunnel. Hey, hotshot, you're standing in my spot. Hey, don't be poking me with that thing. Go fck yourself. Shut the fck up, punk. Don't be pushing me. Go fck yourself. What are you gonna do? I'm gonna shove it up your ass. Get the fck out of here, you punk. CHARLIE: Hey. Hey. Hang on, now. You ain't gonna ht him. Why not? Because I'm gonna ht him. DOOLEY: All right, knock it off. COP 1: Jesus Christ. COP 2: Come on. JOHN: Oh, my God. That was beautiful. Hm. She your wife? No, sir. Your girlfriend? No, sir. Ah, perhaps your sister. Now, that would make sense. A white brother, a black brother, and a Latino sister. Officer Grace Santiago, sir. I've been newly assigned to Unit One. You boys are lucky. How did you get so lucky? Are they lucky, Officer Santiago? I don't know what you mean, sir. Having you as a partner. Are they lucky? I'll try my best to do my job and be part of the team, sir. I'm sure you will. You're dismissed. This doesn't concern you, Officer Santiago. You boys, you don't listen. This time, you may have your nuts in a wringer. Last time you messed with my train, it was late. This time, it was light. Light? Sit down. It seems that, in the darkness and confusion, somebody made off with 25,000 of my dollars. You got any idea how that could happen? No, sir. Why ask us? You're a bad gambler, Sunny Jim. You're in debt up to your eyeballs. Matter of fact, the only thing you're good at is losing money. I think you can figure out how I lost mine. Wait. Wait. Are you trying to say that we had something to do with this? Did I say that? I didn't say that. All I said was that bad things seem to happen around you two and some money got lost. I think you can help me find it. How so? You look for it. I got a hunch that if you dig down in that commode that you call a soul, you'll come up with something. Excuse me, sir. I didn't ask to be disturbed. I think you might wanna hear this. Get out of here. Uh... You're dismissed. Dismissed? Dismissed. You know, one second you're calling us crooks, and then the next second we're just dismissed, huh? The money has been recovered. A collection agent made a full confession. I said, you're dismissed. Oh, by the way, whatever happened to that money-train model that was on your desk? JOHN: You know, I was just thinking about that. I looked over there, and I didn't see it. Heartbroken. CHARLIE: Just, poof, gone. JOHN: Man, the manpower that would've had to go into putting that together. You're right on the edge. You're a wreck looking for someplace to happen. I'll be there, and I'll fck you dad. CHARLIE: Do you think he wants to fck us before we're dad or after? JOHN: I understood that when we're dad, that's when he wants to fck us. Either way, it's a pain in the ass, man. Oh, man, fck that. Yeah, really. fck him. I mean, thinking I stole the money, that's insulting. Well, I tell you, I thought you stole it too. You did? Well, that's all right. You're family. You got a right to insult me. But that son of a bitch, he-- Hey, Hook. What? Hook. You know what's on the other side of that pond? JOHN: Yeah, that's Wollman Rink. Last night, those repair guys came up a ladder into the park. Where? Right over there? Yeah. Oh. Ah. Oh. I see what you're saying. That's what I'm saying. You're saying stop the train near the rink. Yeah. Then use the ladder to climb up and, pow, take away the cash. Take the cash. We'll disappear into the park. Never work. It'll work. It'll work. It'll work. It'll never work. Charlie. What? How much do you think we can get? Three, 4 million at least. Hm. Man, man, man. Mm. We could be rich. Rich, man? fck, we'd be free. And it's about time for our people. Mm. Uh-huh. Say it loud. I'm black and I'm proud. And you look it. Ugh! Ugh! Man, we're talking about-- That's living like the Lifestyles of the Rich and Famous. You know what we could do? We could be just taking cruise ships, you know? Go from island to island. We'd be like boat people, but richer. Richer than that? Hell, man, we could go to, like-- We'll buy an island. Now you're talking. Yeah. I'm saying-- That's enterprising. Something like Maui. Or Bali. Tahiti. Any of the "I" islands. Exactly. The best thing is that we wouldn't have to put up with no crap from that necrophiliac, prick-in-a-suit Patterson. That son of a bitch, man. We don't deserve that. Let the sharks eat him. Let's do it, man. Let's do it. Let's do it. I'm with it. Here's what I'm saying. What are you saying? Talk to me. Come on, now. Talk to me. The best possible time to pull this off is gonna be New Year's Eve. Why? Because New Year's Day they have the rate hike. So it's just gonna be loaded down with currency, man. I mean, it'll just be phat. You know what I mean? Where'd you learn that word at, man? Well, MTV Raps, man. I'm trying to keep up with my heritage. Anyway, man, think about it. What do you think? Wait, wait, wait. What? Look, Charlie, come back to Earth, man. All right? Just-- Just calm down. Come on. Come on, now. Come on back to Earth, buddy. What are you talking about? Charles, we're not gonna rob the money train. Why not? Because, uh, uh-- We're cops. And, you know, remember: Serve, protect, break a mugger's neck, all of that. That's our credo. We gotta do this. We can do this. No, no, no. Shh, shh, shh. We're gonna do it. We're gonna do it. No, no. It would be no problem. No-- No-- I'm telling you, it's easy. No, no. Shh, shh, shh. No, wait-- No. Shh. Ah. See, I get the-- Shh. Shh, shh, shh. Put that thing away before somebody think you got it for Christmas. We could double if-- Eh, eh, eh. Ah. Don't let me interrupt. It was too hot inside. I had to come outside for a minute. Uh-huh. I see you're getting down, huh? Salsa, yeah. That's all right. Love this. I grew up with this stuff. You didn't. Now, I grew up on this. Excuse me? No, no, no. See, I'm from the Bronx, see? What? What? Come on. Let's see what you got. Are you sure? Hey, I'm very surprised. Baby, E Street. Here, do this. See? See that there? You're teaching me something, huh? Gotta learn from somebody. Let's see what you got, now. Watch out, now. I might throw a spin on you. Oh! Ah. Little rough for the first time. That's all right. If we do it a bit more often, we'd get some practice in. Thought we were dancing. That was nice. That was nice. You just gonna leave me hanging? What? No, no, no. Slow music? Oh, no, no, no. I don't dance to slow music. Oh, you don't dance to slow music? No. Come on, now. No. How would it look for me to all of a sudden just, like... step up to you like that and, you know, pull you close and start dancing with you all close and stuff like that? That could work. I got a confession to make. Yeah, and what's that? Well, this is the first time I ever danced with a cop. Yeah, well, me too. Hey. Hey, hey. I hope that's your gn. Oh, well, whatever it is, it's poking me too. Hold on. Maybe it's my gn. I'm telling you, put your stuff in the back. You put your stuff to the back. I am. Oh, wow. Oh, boy. Ooh. Hey, look, I think I should go in. Yeah. Yeah. Yeah, you know, because we don't want people to come out here and start talking. No. We wouldn't want that. You know how the precinct is: Blah, blah, blah. Yeah, yeah. Heh, heh. You go ahead. Okay. All right. Nice. Grace. Gracias. I enjoyed it too. CHARLIE: Hey. Hey. How goes it? Can I interest you in a piña colada? Hi. CHARLIE : You gotta get up You gotta get up You gotta get up in the morning You gotta get up JOHN: Stop, stop, stop. I should've never told you where I hide my keys. Come on. Hey, Hook. Come on, man. Come on, get up. Time to play. Hook. Hook. Stop. Get up. All right? Oh! Say no more, man. It's hot in here. It's hot. Hot. Could it be hotter in here? It's like a sauna. JOHN: Don't touch that window, man. Don't touch the window, man. Fresh air. Yo, man, it's cold outside. You gotta get fresh air. Trust me. Come on. Fresh air? Where do you think you're at, in the Alps? CHARLIE: Best thing for your lungs. This is New York, man. Ow! Oh, watch your shin there, man. JOHN: Smell like you haven't been back to your place to wash. CHARLIE: That's because I haven't. You haven't? No. I've been out. Grace? I've been out with Grace all night long, and, God, I'm feeling good. Whoo! All night? Yeah, all night. And I feel all right. What, you try some of your world-class, cheap-ass moves on her? Well, gentleman never tells. What? A gentleman never tells. Ah. Well, since you're in no danger of even becoming one, you could go ahead and tell me. How'd it go? All right. We-- No, I ain't gonna say. No. Did you kiss her? You kissed her, didn't you? Shouldn't you be home in bed? Too much energy. I thought I'd come here and try to burn it off. Yeah, well, thought you worked that out last night. You know, um, I still got a little something left. What? You wanna go at it? Ha. What? Boxing? Yeah. Come on. Let's go a few rounds. And don't hold back. Come on. Look, you sure you wanna do this? Oh, oh, oh. Oh, you're a little sneaky, huh? Back up, now. Wait. Hey, get out of here. Get out. I ain't going nowhere. Ugh! Ha, ha, ha. Ugh! Okay. All right, good. Good. GRACE: So you wanna talk about last night? You're talking about you and Charlie, right? No. I'm talking about you and me and the real reason you backed off. Look, you gonna box or you gonna talk, huh? It's Charlie, isn't it? What? It's Charlie, isn't it? Yes, yes, it's Charlie. The guy is crazy about you. This has got to be a first. A guy who cares more about his brother than he does about himself. Well, he is my brother, and-- Oh! Yes, I care about him. I mean, I ain't no saint or nothing like that. There are times when I feel like I wanna just kll the guy. Yeah. I heard he's kind of a fck-up. A fck-up? Ugh! Dang. Jeez. Oh, man, I'm sorry. No, I'm okay. No, I'm... I was out of line anyway. Oh, no, no, no. I mean, can't you understand that I have to look after my brother? I can understand about you and your brother. What I'm not understanding is what's going on between you and me. You and me. Yeah. You and your feelings about me. Well, I decked you, didn't I? I feel the same way about you. You know, this could get painful. Hey, love hurts. MAN: Yo, officer. Officer. Good night. Adios. See you, Charlie. Yo, Charlie. Yo, hold up. I wanna talk to you. Hey, come here, man. Something I wanna give to you. Your conscience finally got to you? You got me a Christmas present? What is this? Fifteen grand? Well, yeah. I've been saving it for a rainy day, and it's raining, Charlie. I can't take this. Charlie-- No, no, no. Charles. Go ahead and take it and handle your affairs, all right? Go and pay Mr. Brown. You're always there for me, Hook. Well, you'd be there for me, so... No, I wouldn't. I mean, you wouldn't get yourself into a mess like this. I'm gonna pay you back every dime with interest. Heh, heh. Yeah, I know you will. I love you, man. I love you too. Handle it. I'm gonna take care of it right now. Put this shit away. You never know around here, right? Hey, look, tomorrow night, if you're not busy, meet me down at the Wha. There's something I wanna talk to you about, all right? You got it. I'm there. You never cease to amaze me. Best New Year's ever. Or something. Heh, heh. WOMAN: Oh! Whoa. You all right? Yes, I'm fine. I'm fine. Hang in there. Easy does it. WOMAN: Whoa. Please, careful. You dropped this. Oh, goodness. Yeah. Thank you. Thanks. MAN : This is 33rd Street. 33rd Street station. Police. Hey, what are you doing? Get off of me. Come on-- Settle down. Thank you. Damn. Man. This look familiar? Oh, my God. That's my wallet. CHARLIE: Don't be embarrassed. You see this kind of thing happen all the time. The best place to keep your valuables is right here. MAN: Hold the door. No! Open the door! Stop the train! Stop! Hi. Round two. CHARLIE: Hey, man. Hey. How you doing? CHARLIE: You won't believe this. I had the money, Mr. Brown's money. MAN 1: Yeah, yeah, yeah. CHARLIE: Some old lady dipped me. You got dipped? Yeah, on the train. What are we gonna do? Dipped you! CHARLIE: Guys. Guys. MAN 1: Kick his fcking ass. MAN 1: Get him! Get him! Get him! CHARLIE: Oh, God. Ugh. Charlie. Oh, man, come on. At least let me explain, man. What--? There is nothing to explain. You think you guys were fooling me? I knew what was going on the whole time. Oh, come on, man, you're lying. Hey, if I'm lying, I'm flying. I'm happy for you guys. I mean, I really am. Why wouldn't I be? We're brothers, right? Brothers. Well, at least did you pay Mr. Brown? No, actually, I lost the money. But what else is new, right? Damn, Charlie. Can you give me two tokens, please? What are the chances of these gn robbers actually hitting my booth? JOHN: Well, the report says there's only one guy. And Riley says that he only goes for female clerks. So, uh, heh... act female. What, powder my nose, paint my toenails? Hey. Skip said you would be a little late. Yeah. You all right? Yeah, yeah, I'm fine. You know, I was reading that book that you lent me, The Kybalion. You know? And it says in there that the universe is a mental creation of the All. Which means-- You're drunk. No, I'm not drunk. Yes, you are. No, I'm not. Your breath smells like it's 90 proof. That's from last night, man. I didn't brush this morning. I'm-- Charlie, Charlie, I don't wanna hear it. No-- Look, do me a favor. Get yourself together. Go home and get you some rest, all right? No, I don't need rest. Got a lot of nerve coming in like this. Let me explain what happened with the money. Oh, what is it this time? What, is it the horses? The cards? No, no, no. Three-card fcking Monte? No. I was on the train, and this old lady dipped me. On the train. Don't lie to me. I'm not lying. Have I ever lied to you? Yes, you lie to me. Okay. About little things, but not big things. Hey, a lie is a lie is a lie. It's important that you believe me. But I don't. Don't say another word. You say one more word, I swear to God... What, are you gonna ht me? I think this is it. What the hell was that? Darryl, can you see what's going on over there? DARRYL : Somebody fell on the downtown plat. Jesus. JOHN: Grace, hold your position. I gotta go check this out. Somebody fell on the tracks. Roger. Keep your eye on Grace. You know, you don't have to look at me like that. I can handle it. JOHN: Who's handling dispatch? I don't know! MAN: All right, let's give me that light. JOHN: Okay, back up. Jesus. What happened? We're working on it. Can't you see? MAN 1: Shine it in. Right over there. That's it. What the fu--? You remember me? Yeah, sure, you do. Because that's my scent you're wearing. MAN: Give me a hand here, would you? Shine that light. Oh. What do you want? The money? No, baby. I don't want the money. Oh, God. Ten-thirteen. Ten-thirteen. Grace is in trouble. Freeze! TORCH: Get the hell out of the way! JOHN: Come on! Come on! MAN: Oh, hey. Get down. JOHN: Police! Move, move, move! CHARLIE: Police! Move! MAN: Look out! Hey! JOHN: Cops! Move out of the way! CHARLIE: Out of the way! Move! Police! Out of the way! Come on, move out of the way! CHARLIE: Freeze! Freeze! JOHN: Charlie, no, no, no. Oh, shit. CHARLIE: You okay? TORCH: Move! Get out of the way! JOHN: Move, move, move! Police! Now, you see what happens when you play with fre? You get brned. No! Ah! DISPATCH : All available units, all available units, proceed to Columbus Circle. We have a power outage between 42nd Street and Columbus Circle. Perfect. Well, I must say, you created quite a shit storm. What the hell is wrong with you? You could've blown away a half a dozen people with your reckless shit. Now, I don't know if I can make you look like a hero, but I think I can help. Don't worry, kid. We'll get you out of this one. All you gotta do... is ask for my help. It's your badge. It's your life. It's your call. What do you say? Hm? No. From there. What's the matter? Why aren't you laughing? Don't you think I'm funny anymore? Now, say it. You wanna hear the words, don't you? I wanna hear the words. Kiss my fcking ass. You kiss it goodbye. Because you're busted, punk. You're fired. JOHN: Whoa, whoa, whoa. Come on, Charlie, get up. Come on. Everybody calm down, all right? We can work this out. There ain't nothing to work out with this piece of shit. There's nothing to work out because your brother ain't a cop no more. Look, Patterson, just let me talk to him. What do you wanna defend him for? He ain't worth it. Everybody knows your brother ain't nothing but a fck-up. A what? A fck-up. Come on, Hook. Hey, hey, hey. Ha, ha, ha. I don't have to take this shit. Yo, this ain't your little glass palace. You come here, I'll bust your ass. Go ahead. Take a bite of me. You'll be licking your ass for a month to get the taste out of your mouth. You son of a bitch. That's it. You're busted. fck you! Come on. JOHN: I don't have to take this shit. I'm busting my ass for this little prick. When your friend calms down, tell him to take his badge out because it belongs to me. And so does your ass. I'll send a uniformed officer around to pick up my hardware. Let's go. JOHN: You ain't gotta send nobody. You come and get this yourself. Huh? It's right here. If you want it, yo, you come and get it yourself. Hey, man, this is between you and me, not you and him. Who does that Napoleonic little son of a bitch think he is? fck him, man. He's gonna regret this day. No. fck you, Charlie. fck me? Yeah, fck you. I didn't ask you to step in and-- I tried to stop you. It's gonna work out. Don't worry. Oh, no, no, no. Oh, no. It's not gonna work out this time. Not this time. Hey, don't turn your back on me, bro. Whoa, whoa. Now, we're not brothers, all right? We don't think alike, we don't act alike, and we don't look alike. Ever since we were kids, I've been carrying you. I wipe your nose, I clean up your messes. Now I'm gonna give up my badge and my career for you? No, no. This is shaking time. You can get the fck out my life. Frank, do you happen to know why blind people don't skydive? No. Why? Well, I'll tell you. It's because it scares the shit out of their dogs. Heh. It scares the shit out of-- Well, you're-- You're a tough crowd, Frank. Another Jägermeister, pronto. Yeah. You had enough, Charlie. Water's cut off. Jesus Christ. What's your problem, huh? My problem is you're interfering with me at the embryo stage of a bender. All right? Other than that, I got no problems. I mean, I'm deliriously happy. In fact, I mean, I got nothing to worry about. I got no job, no brother, no girlfriend, no future. Hey, ha, I got nothing to lose. I mean, the first time in my life I'm free. God bless us all, Tiny Tim. You're over the top, Charlie. Listen to me. Don't do anything stupid. Where's the fun in that, Frank? Shit. I just remembered. I have to urinate. I'll pick this up later. Oh, shit. CHARLIE: I don't have the money, all right? If you wanna kll me, just fcking kll me. As a matter of fact, right now it'd be a relief. BROWN: I hate to hear that kind of fatalism, Charlie. I really do. Poses a very interesting problem for me. Obviously, we can't keep on doing this because it doesn't have any effect on you. What I do in a case like yours-- And I'm being forced here. --I thrat the life of someone you love. A wife. Child. A brother? You son of a bitch. MAN: Merry Christmas, Charlie. January 1st, or your nggr brother's dad. Frank, what you doing here? I gotta talk to you, Johnny. It's about Charlie. He's in a lot of trouble. MAN: Hey, bartender, over here. JOHN: Hey, gentlemen, gentlemen, let's keep those fires hot. Where you going? Look, I just wanna talk to Mr. Brown. Mr. Brown's not here. Upstairs. He owns the joint. Come on, man. Get the fck out of here. Come on, man. You missed. Oh! Oh. Oh. Argh! Again. I hate that. You haven't learned yet, have you, huh? Yo, Mr. Brown, you got a disgruntled employee back there. Kick his fcking-- JOHN: I told you you was gonna get the money, right? Hey, man. Hey. MAN: I mean, who the hell are you, coming in here like that? BROWN: Stop fcking around! I want him dad! Bring him over here! I'll kll him myself! You got big balls? I'll cut them off for you! WOMAN: No! BROWN: What the hell are you doing? You're a bunch of pussies! gddmn it. You know, we are not getting along. Come on, bitch. You want some? "Bitch"? Who you calling--? Come on. Come on. Ah! fcking... What are you, stupid, huh? Stupid? Get over here. I told you, you'll get your money, and you will. But if anything happens to my brother... You understand me? Yeah. Oh, yeah. Who you calling "nggr"? JOHN: Hoo-hoo-hoo. Happy New Year. WOMAN: Hi, John. How you doing? WOMAN: Anyway, so I got... JOHN: Happy New Year to you too. Happy New Year, man. FRANK: Johnny. John. Yo. Excuse me. Frank. Charlie came by earlier. Left it for you. Oh, yeah? Yep. Well, it took you long enough. Look, I'm sorry I'm late. I'm sorry. That's okay. Thank you. What is this dress you got on here? What? No, no, no. "What?" nothing. Turn around. Let me... What, this old rag? Oh, yeah, you just pulled it out of the closet, right? You got a permit for this dress here? My goodness. You're in a good mood. I just did my last favor for Charlie, so I'm feeling like a free man, you know? "The islands call." What's that? I don't know. Something Charlie sent over. Well, open it. Damn it. He's gonna do it. Do what? Charlie's gonna rob the money train. Say again? Charlie's gonna rob the money train. You understand me now? Thinks he's gonna bring me in with him. I'm not going for it. If Patterson catches him, you know that he'll kll him. Literally, kll him. Uh-huh. You're not gonna do anything? No. Give me one reason why I should. Charlie is going down. And you are the only family that he's got. WOMAN: Happy New Year! WOMAN: Don't do it, dude. Whoo! COP 1: Let's go. COP 1: Okay, I got the stairs. COP 2: Hold it. COP 3: Good. How you doing? Open up. Jesus Christ. Hey, what the--? Shh! Come on. Move. Move. Move. COP 1: Stop the train! COP 2: Hey! Hey! COP 3: Stop the train, or we'll sht! COP 2: Hey! Hey! Hey! Yes! The money train's been stolen. What? The money train's been stolen. I gotta call Patterson. JOHN: Police! Move out of the way! Out of the way! Come on! Move! Shit. Come on, move! Move out of the way! Come on, move! Move, move, move! Listen up. Right here. Give me your attention. Everyone! We have a situation here which will be resolved immediately. These perpetrators are obviously fools who have survived thus far on sheer luck. Well, their luck just ran out. Let's get them. And remember, the money train has not been stolen. It is still in our tunnel, still in our control and soon it will be in our hands. Can I have a sip of that? Have some. Thanks. I'll pass. Shit. fck! fck! gddmn! Hey! fck. You scared the shit out of me, man. How'd you find me? fck that. You told me the plan, remember? That was plan A. We're gonna move on to plan B. Which is what? Now that you're here, we're gonna figure it out. No, no, no. This is plan B: We get the hell off this train, safe and undetected and without the money. Let's go. No, no, no. I ain't down with that. Well, then we got a serious problem. Yeah, I guess we do. MAN: Let's go. Let's go. Up there. Up ahead. MAN 2: Be careful. JOHN: Shit. What is that? COP 1: Come on. Come on. Now's your chance to turn me in and get a medal. Or you could get this damn train moving and get us out of here. Thought you'd never ask. Charlie, when this is over with, remind me to knock you out. DISPATCHER : Money train reported going south on the A line, has just crossed 59th Street. PATTERSON : To the person or persons onboard the money train, this is Donald Patterson. Shut it down and surrender Don't do that. Don't do that. before you wind up-- Donald, don't worry. The robbery's going great. And I'll still give you your cut, partner. Toodles. Listen to me, you sons of bitches. I don't know who you are, but I will get my hands on you, and I will rip a hole in your throat, suck your heart out and eat it. Now, I don't appreciate that tone of voice. Don't even look at me. I mean, Patterson may be an asshle, but he's not stupid. He's gonna figure to trip the brakes and this little joy ride of ours is gonna be over. Unless... What? We bleed the brakes. Oh, man, I knew you'd be good at this. We bleed the brakes, they can't stop us. If we bleed the brakes, then we can't stop either. Shit. Then it's bleed the brakes or we end up the butt-brothers in D Block. BOTH: Bleed the brakes. PATTERSON: Get me 42nd Street. Tower, stand by for Chief Patterson. You got the money train coming your way. I want you to shut her down. Trip her brakes. Reach in and tear her guts out. Come on, baby, come on. Gotta work, gotta work, gotta work. You got it. Come on. Oh, yes! Yes! Yes! You're a genius. A genius. Great. MAN : Didn't stop, sir. What do you mean, it didn't stop? From the way it was going, I don't think it has any brakes. I want the sh*t. I want them on the Grand Street platform. Concentrate all your firepower on the motorman's cabin. COP: There's a construction barricade near Grand Street. It could stop the train. Good point. I want that barricade. I want it in place and now. Sir, that thing's reinforced with steel. They'll be klled. Yeah. PATTERSON: Money train, this is Donald Patterson. I have an information update for you. At the Grand Street station, we have in place a reinforced steel barricade. I implore you, shut it down and turn yourself in, or die. He's bluffing, right? COP 1: Move it. Move it. COP 2: Take cover. Let's go. COP 1: Hustle. COP 2: Go. COP 3: Get down. COP 1: You guys, over there. You two, come with me. COP 2: Hustle! Okay, keep in line. Keep in line. What are we gonna do? We can't stop this thing even if we wanted to. Go faster. Come on. Move it, move it, move it. Shake your ass. Come on, guys! Charlie... he wasn't bluffing. Oh, shit. COP 1: Here they come! COP 2: Move! COP 1: Take your positions. COP 2: Come on. Come on. COMMANDER: Steady. Easy, now. COMMANDER: Wait for my command. fre! COP : Command, you're not gonna believe this. The money train broke right through the barricade. Yeah! Ha, ha, ha. The money train's a runaway. I'll start clearing track. Wait a minute. What's the nearest train ahead of them? The 1220 Coney Island. I'll sidetrack her. What? And give those sick bastards a clear track from here to hell and gone? Raise me the motorman. KOWALSKI: Command to 1220. Command to 1220. Come in, 1220. 1220 to Command. This is Donald Patterson. Yes, sir? I want you to bypass all stops. Why? What's going on? Just shut up and do your job. GIRL: Maybe we're on the wrong train. WOMAN: Weird. Sir, these two trains are on the same track. When the money train hits her, there'll be a derailment. There'll be no derailment. When they see that train ahead of them, they will shut it down, and I'll be there. But, sir. What? What if the money train can't stop? People could die. That's what we live with. Charlie, what are you doing? What does it look like I'm doing? I'm getting paid. Charlie, the money stays. Feel that. You know what that represents there? Freedom. I am not leaving here empty-handed. Charlie the loser, man. I've been hearing that my whole life. Not today. Today, it's Charlie the winner. And you think by being a thief, that makes you a winner, huh? Listen, why can't we save this lecture till we're on the beach in Tahiti? No, Charlie, there's not gonna be any beach. This is no time to fck with my fantasy! All right, if you're in, fine. If you're not, get out of my face. You're the one who put me in your face. Charlie, I'm not gonna let you ruin your life. And what are you gonna do to save my life this time, huh? I think you're gonna wanna get that foot off of that bag. Charlie, don't try me. You trying me, huh? Now listen to me. Just let it go. Charlie, let it go. Let it go. I'm taking the money, man. Ugh! Argh! Damn! Give me your hand. Ah! Charlie! Grab onto my arm! Pull me up! Charlie! I got you, man! Charlie! Come on, John! All right, John. Oh, shit! JOHN: Thank you, Jesus. Ugh. You okay? Yeah. Are we straight? Yeah. We're straight. Come on. Let's shut this puppy down. Easier said than done, but I'm with you. Yeah, but it's you and me, man. What could stop us? Oh, my God. JOHN: Oh, shit. Oh, Jesus. Patterson didn't clear the tracks? If we don't slow down, we're gonna derail them. Oh, man, this is bad. This is bad. Charlie, these people are gonna die. Come on. We gotta do something. Son of a bitch won't move! Jesus! 1220, maximum speed. The other train's too fast! They're gonna bump us off the track! We're fcking dad! Do you hear that, Command? dad! DISPATCH: All emergency units, head to Fort Hamilton station immediately. What happens if we just throw this damn thing in reverse? Traction motor has a heart attck, train does a 40-ton somersault. But we live, right? No. They live. We die. So be it. We ht the reverse switch and say goodbye. At least there's no surprises. No, no, no! Let go. We don't have time for this. They're running out of time. Just jump, man. Jump? Where the fck am I going to jump? I'm in a fck tunnel! Doesn't take two of us to do this! It's my fault! My fck-up! No, no, no! We're in this together! We stay together! Charles, what the hell are you doing? Oh, now you're gonna pole-vault out this fck? CHARLIE: Autopilot. When this hits, it'll throw her into reverse! JOHN: Genius, man. CHARLIE: What the hell are you doing? I don't know. PATTERSON: Where is my train? MAN: It's coming, sir. PATTERSON: Good. How long? MAN: Two minutes out. That's what I wanna hear. When we get out of this, remind me-- Ah! Charlie! CHARLIE: Don't let go of me! JOHN: Come on! The front. Get to the front. CHARLIE: Ah! Oh, my God. COP: I'm going to the right here. Come up on top. COP 1: I got it, captain. COP 2: Let's go. Hey, come on. COP 3: All right, listen. Give me that light, will you? See-- Walk to the left. Are they dad? There's nobody here. COP 4: Get them out. Get them out. Come on. Move. Move. They're here. COP 1: Come on. PATTERSON: They're here, whoever they are. You fck with my train, and I'll find you. And I'll find you. Don't you mess with me. Shit. Is that Patterson? PATTERSON: Get the hell out of my way. Get out of here. What are we gonna do? You took my train and destroyed it. I'll find you. Be cool, be cool. Do not run. PATTERSON: You wanna tangle ass? JOHN: Patterson. We came as soon as we could. We heard it over the scanner. Whoo! What a mess. You're in trouble. If there's anything we can do to help-- All you gotta do is ask. What are you two bags of shit doing here? You ain't even cops no more. Come on. We just wanna help, okay? We're trying to help here. Hey, sweet pea, how's your cock working now that you ain't got a badge no more? What? This is what I think of you, you fck-up: CHARLIE: Hey, hey, hey. Spit in my face? No. Hey. You aren't gonna ht him. Why not? I'm gonna ht him. You're not gonna ht him. BOTH: We both ht him. PATTERSON: Arrest those two bastards. Arrest them for asault. No, Patterson! You're under arrest! You endangered the lives of innocent people and you are gonna pay. JOHN: Whoa. CHARLIE: Shit, man, did you see that? COP: Turn around and keep moving. That's right, arrest his ass! That son of a bitch tried to kll us! Who are you? Oh, you don't remember me. Officer Santiago. Yeah. MAN : When the ball hits the bottom... Ready, Camera 3, take three. CROWD: Ten, nine, eight, seven, six, five, four, three, two, one! We did it! We did it! We did it, man! We did it! We did it! Yeah! Yeah! Happy New Year, man. I love you, man. What is? What is that? No, no, no. No, no. It's, uh... No, no, no. I put on some weight. Put on some weight? You gonna tell me you're six months pregnant? What is this? You're gonna overreact on this, John. Jesus! Oh, God! Jesus! I knew you were gonna overreact. What do you mean, overreact? Are you crazy? We risked our lives, man. No, no, no. Shh, shh, shh! No, don't tell me-- I don't want-- It's New Year's. I can't be shutting up. No, no, no. CHARLIE: Are you kidding me? I saved your life back there. It's a miracle we're even alive. Hey, a miracle, and I performed it. Come on. Listen, we got off Scot-free. Scot-free? No, no, no. Hands off me. CHARLIE: That's just a down payment on the rest of your life. JOHN: That's a down payment on 50 years to life. CHARLIE: Are you kidding me? That's a down payment on... CHARLIE: Do you know that we're halfway to millionaires? Do you know that? JOHN: Don't you know you're halfway to county? You're halfway to federal. CHARLIE: You can in fact buy a fcking beach. JOHN: We ain't keeping that money. Send it back. CHARLIE: Send it back? Get the fck out of here. What? What? What, I'm gonna walk back up there and hand it to him? JOHN: No, you're gonna put it in the mail and send it back. CHARLIE: I ain't mailing shit. You know how-- JOHN: I ain't asking you to mail shit. I'm asking you to mail money. CHARLIE: You are fcking funny, man. You're paranoid. You gotta quit smoking that shit, man. I ain't sending shit back. You gotta quit smoking that shit. CHARLIE: You ht me one more time, I'm gonna knock you out, man. Hey, I saved your ass. Oh, yeah, that's right, man. That f*cking shit you pulled on me in the train, man.	{"type": "movie", "show": "Money Train (1995)", "episode": ""}	foreverdreaming
TRACY: Ever since I was a little girl, I knew exactly what my life would look like. Official YIFY movies site: YTS.MX I d meet the man of my dreams. And we d have everything in common. And in ninth grade, I met Mark Lewis. He was perfect. MARK: Is it dad? You're so weird. I dream that one day you'll eat a burger medium rare. It s so bloody, it... Get out of here. TRACY: I d do whatever it takes to keep my man happy. I d make us a wonderful home and cook for him, and everything would be just so. And when Mark got cast as a lead in a big Hollywood movie, well, I left the Midwest and moved out to Los Angeles, And I love it here. L.A. is always so sunny, and Los Feliz is like a small town in a big city. Everyone is so nice. Do you have any cheddar from Wisconsin? CLERK: Nope. I m not even twenty-two, and I ve got everything I ve ever wanted. Now all I have to do is live happily ever after. [moaning heard in background] ♪impending doom music begins ♪doom music builds ♪deep instrumental music begins ♪deep instrumental music continues♪ MARK: Trace. ♪guitar strums underneath MARK: I thought you had a job interview. Where are you going? Back to Wisconsin. MARK: Trace! MARK: Just stay. Let s talk about this. MARK: Aw, Trace. I love you, Tracy. MARK: I love you. [Traffic sounds] [Cell phone rings] ALICIA: Hi, sis, how s Los Angeles? Ready to come back yet? TRACY: What? Well, actually... ALICIA: Don't make me lose my bet. ALICIA: Mom said you wouldn t last a month. I ve got you there at least six. You guys made bets? ALICIA: Oh yeah, a whole pool. Dad s down for three months. ALICIA: And Sharon, you know that bitch from the party store, ALICIA: she thinks you're gonna die in an earthquake. You didn t think me and Mark would last? ALICIA: You know, Hollywood. We've been together for almost six years. ALICIA: Whatever. It doesn t matter what we think. ALICIA: So, how s it going? Great. ♪piano music plays It s going great. KRISTA: You say you're too sick to go to a rehearsal? You're not famous enough yet to pull that shit, and if you have so much as a sniffle, I m the first to know. Got it? Don't tell me you ate a whole pizza. MARK: Uh, stop. KRISTA: What? Did you have a fight with your girlfriend? Shit happens, but I worked too hard to get you this role. Where is your script? Seriously? Fine. Uh... ♪piano music plays [traffic sounds] [mosquito sounds] KRISTA: Come on, do you want it or not? MARK: Oh, I want it. I want it bad. KRISTA: This is playful. You're supposed to be flirting. Come on, show me some of that Mark Lewis charm. I m tired. I know the lines. You really don't think she s coming back? MARK: What, Tracy? [knocking on door] PATRICK: Hey lover. Hey Patrick. Patrick Waddell? Krista Daly?!? MARK: I m working with Krista, so I don't need to rehearse that scene with you after all. PATRICK: That s so good because I m not even here to rehearse. Oh. Then what the hell are you doing here? PATRICK: I just came to say hi. Is that like, a crime? MARK: Thanks. I thought maybe he was feeling lonely. MARK: I m fine. PATRICK: Krista Daly. How come you're not my manager? ♪deep music plays with chimes [mosquito sounds] [ocean and wind sounds] [birds and traffic sounds] [birds and traffic sounds] [squawking bird sounds] ♪cymbals [running sounds] [his breathing, labored] [ocean sounds with music underneath] [door opening sound in distance] [bird chirping sounds] TRACY: Are you alone? MARK: Yeah. Is that guy... It was a mistake. Right. I'm so sorry, Trace. Let me tell you what I want, and you tell me if you you can live with it. I wanna be your wife. For the past six years I've wanted to be your wife. I - I want to have your children, and I-I wanna cook for you, and I-I want to be good to you, and, and I want to love you, and I want you to love me, and I want you to provide for me, and I want you to treat me with respect. I do love you. TRACY: I don't know what that was, but you have to promise me...never again. Definitely not. MARK: The look on your face... So we have a deal? ♪slow piano music plays I promise. You're gonna be late for rehearsal. I ll make you some breakfast. ♪hopeful piano music plays [door creaking] TRACY: Welcome home. MARK: This looks great. Sit down. Give me a sec. MARK: Trace. I just want to say... Don't. In honor of our new commitment... Mark. MARK: The rock s on the way. You really want this? I do. MARK: It's too big. No, it's perfect. [bird chirping sounds] ALICIA: Trace, I don't know if five months is enough time. I mean... ALICIA: the VFW and the Italian- American club are all booked up ALICIA: for every weekend in September. TRACY: There's gotta be someplace. MARK: What are you doing up? TRACY: Let s just have it...outdoors. TRACY: We ll have a beautiful outdoor wedding in September. ALICIA: Uh, I got one word for you... rain. Well maybe it won't rain. ALICIA: Well If it hadn t rained at my wedding, maybe I wouldn t be divorced right now. TRACY: Just call me... when you find something, okay? I don't want to go any later than September. Fine. Bye. You've got a six-thirty call, I m up with you. My man s got to have his breakfast. You're so good, but I don't think I can eat this early. I ll make it to-go. MARK: You do know we have catering trucks, right? I mean, there's more food on the set than I ve ever seen in my life. I don't like the idea of you eating your meals off of a truck. TRACY: I m your fiancé, I should feed you. [phone ding and buzzing sounds] Ride s here. I m sorry about the crazy long hours, hon. I feel like I never see you. Break a leg. ♪fun rumba music plays [indistinct voices] 2ND AD: Hey, Mark, Tracy's here. MARK: Come on in. MAGGIE: Hey Tracy, what did you bring today? TRACY: It s uh, duck sausage on pretzel buns with Dijon mustard. MAGGIE: Where do you come up with these recipes? TRACY: Just down-home Wisconsin cooking. Can he have a bite? MAGGIE: Uh... Oh, just put it down for now, hon. MAGGIE: Not there! Sorry. TRACY: Okay. There is fine. Oh, no problem. Sorry. So how s it going today? Well, I m still in makeup so, so far, so good. Right. What are you up to now? TRACY: Uh... ♪music stops I don't know. FEMALE CREW MEMBER: Props! ♪slower latin music plays LUANN: Thank you. FEMALE TENANT: Have a great day, Luann. LUANN: Okay! FEMALE TENANT: I mean it. Bye. LUANN: Yes. Yes, you too. TRACY: Hi Luann. LUANN: Hi Tracy. Whatcha doing? TRACY: Walking. What about you? Collecting rent checks. What about you? Taking a walk. LUANN: Oh yeah, so you said. So you own this house too? Oh, yes, I do. I bought a bevy of houses in the Happy's when the market was down. The Happy's? LUANN: Our neighborhood. Los Feliz, the Happy's, translated strictly. Right. LUANN: Thank God for residuals. You still make money from that show? Hell yeah. Thank God for cable TV, they're still running that at least twice a day. [metal and glass sounds] TRACY: That was weird. LUANN: Oh, oh, did you see him? TRACY: Who? LUANN: Did you see him? Sebastian. Did you see him? TRACY: I saw his hand. LUANN: That counts as a sighting. He moved in maybe seven years ago. I swear to you he has not left that place since. Is he an invalid? Is he old? LUANN: Nope and nope. Sebastian is the quintessence of an enigma. One who is inscrutable, ambiguous, puzzling. Sebastian is an enigma. Hmm. ♪thought provoking music plays GO FUSION VENDOR: What can I get for you? TRACY: I don't know. This food is so weird. What's like, the best thing you've got? The teriyakos are pretty awesome. TRACY: So, they re like, tacos? GO FUSION VENDOR: Teriyaki. Tacos. Teriyakos. Oh. Can I have one? [door latch clicking sound] [dog barking and door slam] TRACK COACH: Let s go, let s go. High knees, boys, high knees. Looking good. What are you doing here? Your trial is right now. You're not gonna make the team. MARK: I can't go anywhere until you tell me you'll accept this. GRETCHEN: Whoa. TRACK COACH: I told you, I can't marry you. GRETCHEN: Look at that rock! I m too messed up I need therapy. Girl, stop talking. I need a lobotomy. Look, you want to get a lobotomy, we ll get you a lobotomy. You want therapy, acupuncture, a massage, a vasectomy, tendinitis, appendectomy, you want to be hypnotized, whatever. You name it, it s yours. You want to go kll your father, that s fine. We ll do it. [crashing sound] PAULA: Cut! What now? PAULA: Who the hell are you? MARK: Sorry. TRACK COACH: Makeup. TRACY: Somebody bumped into me. It wasn t my fault. I told you we were sh*ting my big scene today. I know, I really wanted to see it. MARK: Can we get a minute here? [indistinct voices] I brought teriyaki burritos. What? It s fusion. I m sorry, but do you think you could chill out on the coming-here-every-fcking-day thing? I didn t mean fcking, I don't know. Maybe you should get a job or something. I m sorry, I just, I thought... [indistinct voices] ♪ music plays LUANN: Hello. Do you like the new feeder? Those industrious hummingbirds just devour my homemade nectar. TRACY: Do you want a teriyaki burrito? Yes, I do. Did you make this? Yeah. It smells so good. Mm-hmm. Mm, par excellence. That is one fine teriyaki burrito. Looks like the avocado turned a little brown. Speaking of a little brown, did I tell you about Sebastian? Yeah, the other day, the enigma. Did I tell you I ve been spying on him? Do you spy on all of your tenants? No, just the brown one. Is he...black? LUANN: Not by birth. Every day from ten until three, he lays out and roasts in the sun. I ve climbed up his fence, and watched him. He looks so irenical. TRACY: Hm. [mosquito sounds] TRACY: Oh my God. Oh my God, these are awesome. I would kll to have a set of real professional knives. Tracy, I m really sorry about this afternoon, really. I do think it would be better if you didn t come by every day, but the way I handled it was totally out of line. And I m sorry. ♪slow romantic music plays ♪latin music plays RICKY: [Spanish] Precious jewel. RICKY: [Spanish] Yes, yes, you. RICKY: You hungry for the best chow north of Cancun, or what? ♪latin music plays I don't know. What, you don't know? I have some friends who went to Cancun, but all they had were burgers and hot wings. Well, your friends are stupid. RICKY: Megan! [Spanish] It's a burrito of conhinita pibil, extra spicy. MEGAN: Pibil extra spicy. TRACY: You're very bossy. Do you like that? Not really. I think you do. ♪latin music plays ♪chime bells ♪inquisitive piano music begins [exaggerated metal clangs] TRACY: Ow. SEBASTIAN: What are you doing here? SEBASTIAN: Get out. Get out! I m sorry. I m so sorry. SEBASTIAN: Get out of my house! How? Where do I go? No, stop. Get away. Get away. Get away! Uh...Uh... Follow me. TRACY: Okay. TRACY: Ooh, I think I ht my head. SEBASTIAN: No, don't, don't do that. Oh man, I have a bump. Would you feel this bump? SEBASTIAN: Mm. TRACY: Ooh. [freezer door opening and closing sounds] TRACY: Thanks. Don't get water on the rug. The door is right there. Don't come back here again. Okay. [deep frantic breaths] ♪slow music plays [timer ticking] [timer dinging] TRACY: Hi. You're still here? I have nowhere else to go. What, you're homeless? I just don't want to be alone right now. You know what I mean? ♪light pop music plays [door creaking sounds] [dog barking sounds] Oh my God, you're okay. Where have you been? Out. Your car was in the driveway. I sent you like, twenty texts. I m really tired. I ll tell you about it in the morning. Are you drunk? Where have you been? ♪strong piano music plays LUANN: Hey, Tracy, this is Wilma. Wilma, Tracy. LUANN: We are late for a long- standing date at Fancy Nails. WILMA: I was in Some Like it Hot. Really? LUANN: Yes, indeed. TRACY: Wow. LUANN: Wilma is a master of the piccolo. Ooh, sorry. Nice to meet you. [pounding on door sounds] [pounding on door sounds] Sebastian, it s Tracy. Let me in. [dog barking sounds] [pounding on door sounds] I know you're in there. Ugh. What do you want? TRACY: Come on, let me in. Look, I, I got some bread. I made some cheese curds. Cheese curds. I even brought some wine to replace what we drank yesterday. What do you say? [chewing noises] Cheese curds. Who knew? Well...you can't live on wine and hoagies alone. Sure you can. I m living proof. So what did Mark say to you when you came home last night? Was he mad? Nah. Ooh. TRACY: The bridesmaid dresses I was telling you about. Mm. Um...personally, I mean, I would go with something simple, ...light. Should we get some light in here? No! Don't touch that. Sorry. [dog barking sounds] Have you ever thought about painting for real? Like on a canvas? I m a graphic designer. It s nice, I get to work from home. More. More, more, more, more. [bottle knock sounds] You left your ring on my patio last night. TRACY: Oh man. Thanks...Hm. ♪grab me up and throw me down, skin to skin...♪ KATHERINE PORTER: Does anyone else think my hair is too brunette for this role? KATHERINE PORTER: In the book, it s definitely auburn. PAULA: The book. Your character isn't even gay in the book. PATRICK: Do you need me to like, butch up my acting a little bit tomorrow? PAULA: As if you could. Oh here's a true fact, okay. The studio made us turn your character gay because young adult movies that feature a gay best friend gross up to twenty- five percent more. PATRICK: That figures, 'cause if you're like, a commodity, Hollywood exploits you. And that is why I am going to be stuck in these roles for the rest of my gay life. ASIAN CHICK: Try being Asian and booking a lead role if you're not Lucy Liu. At least you can play straight. KATHERINE PORTER: Uh, have you seen The Wedding Party? He can't play straight. PATRICK: Oh! PATRICK: Yes I can. PATRICK: First off, fck you, and second off, fck you again. Stuff like that is what forces actors into the closet in the first place, so it s not a good thing to perpetuate. PAULA: You know, that s true, that s really true. TRACY: What's wrong with you? You don't have any...any... TRACY: ugh...anything in here. I don't need anything. I can get whatever I want delivered. Okay. Come on, let s get serious. When is the last time you left the house? 1932. SEBASTIAN: Don't touch me. Don't ever do that again. Okay, I hear you. I won't. TRACY: Oh hey, raisins. How old are these? SEBASTIAN: I don't know. TRACY: Hmm. You know, I did travel across the country for a year. TRACY: Oh yeah? TRACY: Hm. SEBASTIAN: Mm-hm. I was living in Florida. Quit my job and just took off for a year. When was that? I mean, it was mostly just aimlessly wandering really. No ties, no places to be, no one to answer to. God, that sounds so great. Mm. You'd think. It wasn t fun? I mean, this country s pretty depressing. Oh. Yeah. So, I ended up in L.A., which as you can see, the good times just keep on rolling. You need more wine. You need a lot more wine. ♪jazz music plays [laughter can be heard] PATRICK: No, that s what I m talking about. There are two... PATRICK: kinds of gay guys in Hollywood, okay. There are guys like me who wear it like a badge of honor, and then there are these closet cases, who are so afraid that if they're ever found out-- they're never going to get another part. And it s sick. KATHERINE PORTER: I licked a vagina. KATHERINE PORTER: Seriously. I said it. PATRICK: What about you, Mulan? Exclusively dick. ASIAN CHICK: But if Katherine Porter asked... PATRICK: What about our esteemed cinematographer? CINEMATOGRAPHER: Well, I was gay for pay a couple times in the 90s. PATRICK: No you fcking weren't. MARK: Give me that joint. I m way too sober. PAULA: Hey, you should listen up. You're exactly that type of pretty boy, sexy stud that people start gossiping about. KATHERINE PORTER: Mm-hmm. MARK: I m not worried. PATRICK: You're not worried, Mark? PATRICK: I guess Mark doesn t have to worry, huh? Mark s as straight as they come. You getting married soon, right? CINEMATOGRAPHER: That little cutie that always brings you food to the set. KATHERINE PORTER: Has she seen the craft service table, she knows that we get, we eat food. PATRICK: Have you had anything to drink, Katherine? PATRICK: Do you want me to get you another refill? PAULA: Oh, vagina flavored would be good. [door unlocking sounds] ♪slow piano music plays TRACY: Mark! [key rattling sounds, then door closing] [thud and splat sounds] ♪tinkling, echoing music plays ♪energetic drum music plays [splat sound] [series of splat sounds] ♪echoing music plays [traffic sounds] [car lock beep sound] [footstep sounds] PATRICK: Whoa, whoa, whoa. MARK: What the fck were you doing in there? You think this is a fcking game? PATRICK: No! I...hey. Don't fck with me. I m...I m drunk, okay. I just want to go home. Is that what you want? PATRICK: Yes. Yes. [yelling sounds] [belt buckle and zipper sounds] ♪deep salsa drums start [door hits and rustling sounds] ♪music builds ♪music climax and fall [hollow thud sound] ♪music reverbs and echoes [DVD case rustling sound] ♪deep bat music plays [plastic thud sound] [plastic knocking sounds] [creaking sounds] [mosquito sounds] [dog barking sounds] [door opening sound] ♪music intensifies Do me, Mark. Just do me. ♪music further intensifies [thud sound] ♪music stops abruptly Four days in a row. Twice yesterday. Wow. I really think we ve turned a corner. So. I mean, this is someone that you...I mean, this is, this is more than usual? He s been really busy. This whole move to L.A. has been hard for both of us. What about before? I mean, in the first couple years, sure, but we were teenagers. Then he went away to college, and... I don't know, it s been more about the relationship part than the sex part. Oh you're not going to get any color with that forty-five SPF. What about you? I don't use forty-five. No, I mean, sex. What about it? When s the last time you had any? Is this an offer? Ha, ha, ha, ha. No. Come on, tell me. Seven years. That s a long time. It s fine, I don't really miss it. Yeah, I didn t think I did either. Well, it s different situations. So, what is it? What? Lay off! Your situation. Oh come on. I have told you my entire life story in the last week and a half. What do I know about you? That you use baby oil and enjoy the occasional glass of wine. Tell me something. Have you heard of the brown recluse spider? Well, did you know that if you're bit by one, they have to remove a two- inch diameter section of flesh? And if you're bitten on the testicle... I m so sorry. Yeah. So was Sherri. Who s... She said I was disgusting. I guess I am. No. You're not. SEBASTIAN: Drink up. It s time to go. ♪high energy latin music plays [in the distance] Tacos, tacos, we ve got tacos. RICKY: Come on, tacos. Anybody, I got tacos. RICKY: Yucatan-tastic tacos. The best tacos in Mexico. The best tacos from Mexico, I got em for you, come on. Hey, Señorita, get some chicken from Yucatan, it s beautiful. ANGRY VEGAN: I m a vegan. Meat is mrder. RICKY: But...it tastes good. RICKY: Come on, I brought the chicken myself from Yucatan. Hey, hey, hey, Hot Wings, you passing me by or what? Oh hey. Yeah. You didn t like my burrito? It was great. Hey, how come nobody s in line here? Ah, this Eastside crowd, they only want novelty foods now, Mexican-Korean, bacon ice cream, spaghetti sandwich. Spaghetti in a sandwich? Okay, I made that one up, but you get the point. Hipsters are stupid. Is everybody stupid to you? Not you, Hot Wings. You and me are purists, right? Come on, what can I get you? Actually, I was going to try the Viet-Cajun truck. Oh. I read about it online. Traitor. Sorry. Hot Wings, Yucatan-tastic too. ♪music stops abruptly [creaking door sound] [paper bag rustling sounds] Mark! Wow, what are you doing home? I got cut early and got takeout from Providence. I know you've been dying to go there. ♪romantic music starts TRACY: You're the best boy. MARK: Mm, you're the grip. You're the gaffer. You're the...prop master. You're the prop. We could have dessert before dinner. MARK: Yes we could. I gotta pee. I ll see you in the bedroom? Yes, you will. [door opening and closing sounds] TOMAS: Okay, remember in the second season when Mitzi got stuck in the sofa bed? Didn t that hurt? Well, I had a stunt double, but she hated me. JONATHAN: Oh come on, give us the dirt. TOMAS: You do realize this man is a reporter for People magazine, right? JONATHAN: Okay, it s off the record. I promise. I slept with her father. [gasps] Oh my God. I know. I know. Take no pleasure in telling you that. I m not judging. LUANN: Hey! How you doing? I m doing good. I have not seen you... since you signed that lease. Ah, yeah, I ve been working. LUANN: Indeed you have. Indeed you have... Being a movie star is a very time-consuming endeavor. LUANN: Take it from me. I m not a movie... JONATHAN: Ignore her. LUANN: Often a fine idea. Hi, I m Jonathan. This is Tomas. Ah. I m sorry, I m a little...sweaty. That s totally fine. Oh God, you're so bad. I can't believe you guys haven t met before. That is nut-burgers. The Happy's is going to hell in a hand basket. The Happy's? LUANN: Yeah, it s the- Don t, just- call it that. LUANN: No? I can't? Okay. I see Tracy around a lot. I feel bad. I m not the world s greatest boyfriend. TOMAS: Oh yeah, what does he do? MARK: Who? TOMAS: Tracy. SHE...doesn t have a job right now. Oh. Oh. JONATHAN: Uh, we re going to go to the gym, so... we re going to pretend to work out. Uh, we ll see you later. Nice meeting you. Yeah. Yeah. Yeah. Yeah. Okay, bye. Bye. I thought you were absolutely incandescent as that paraplegic boy by the way. Thanks. [car door closing sounds] LUANN: Really, it takes a very... [car engine starting sounds] true talent to be that honest and that...raw on screen. LUANN: Just save some of that for real life, too. Please, take it from Luann. Okay. Better get in the shower. LUANN: Okay. Nice talking to you. It s always a pleasure, Mark. [bean bag rustling sounds] It looks like you're doing something dirty. I m breaking it in. SEBASTIAN: Okay, got a few options. Take a look. Ooh. These are great. Oh, I don't know which to choose. What do you think? Uh, take em home to Mark and you two decide. SEBASTIAN: It s your wedding. Will you come? To your wedding? Mm-hm. Hmm, that s what videos are for. Come on, what's for dinner? I ve been marinating some shredded pork. Have you ever tried cochinita pibil? Once in Cancun. Really? Really. You don't have to say that. Yes, really. The dinner was amazing. I mean, you could, you could open a restaurant, easily. Like you'd know. Ah! It s not fair, I can't touch you. SEBASTIAN: Ha ha. So how are things with Mark? Great. Yeah, we re... doing it all the time these days, and it s, it's really... SEBASTIAN: What is it? Thank you. For? I don't know. Listening, caring, being real. Real weird. Yeah, that too. But it s more than that. It feels good being around you. Quit being so mushy. You love it. Ha, ha, ha, ha. I didn t touch you. The water did. [heavy breathing and creaking] Mark. Ow, Mark! Ow, Mark. Stop it, it hurts. Stop. Stop! Mark! You're hurting me! fck! MARK: I can't fcking do this. I can't fcking do this. This whole fcking thing is so pathetic. Mark. MARK: Do you have any idea? ♪somber music fades in What? What is it? How unhappy I am. Don't. Don't comfort me. What am I supposed to do? Nothing. We re just nothing. What are you talking about? Can't you see? Look at us. We ll get through this. TRACY: Whatever it is, we ll get through it. You're so fcking delusional. We will not get through this because this is over. I m just done. Do you get it? ♪music ends with guitar strum [pounding sounds on door] [persistent pounding sounds] TRACY: Sebastian! Sebastian! Please open up! [loud sobbing and gasping] Well, if you need anything else, I ll be working. Just get some rest. SEBASTIAN: Okay? He s gay. SEBASTIAN: What? Mark. He s gay. I walked on him with a guy. SEBASTIAN: What, today? No. A couple of months ago. SEBASTIAN: You mean, all this time... It just feels so stupid. ♪somber music fades in SEBASTIAN: But it s not your fault. I ve known. I guess I ve always known. I just thought that if he loved me enough... SEBASTIAN: Tracy. Stay with me. I don't want to me alone. Can you...lay down with me? [indistinct voices] 2ND AD: We need him on set in five minutes. Well I need four of em. 2ND AD: He hasn t finished make-up. All right, three. I m trying to help the movie. MARK: What's going on? KRISTA: You tell me. MARK: Uh... KRISTA: I m not hearing good things Mark. Everything was swell. And now I m getting reports that you are distracted, tired, grumpy. Are you still fighting with that girl? Tracy. Whatever. No. Things are great. If she fck this movie up, I m going to go over there and dump her ass for you. KRISTA: Are you an artist? What? Artists don't compromise, and they don't let themselves get bogged down in petty bullshit. They focus on their job, and they create. Make-up! Does my body turn you on? It just feels so weird to have been with someone for so long and, and to not...feel wanted. Aren't you supposed to feel wanted? Yes. What does that feel like? Have you felt it? Yes. Was it nice? SEBASTIAN: It was...inspiring. What did it inspire you to do? Everything. Anything. Sherri? Why would she do that? It just, it makes no sense. You're so wonderful, and it just so doesn t matter. It s life. You'll learn. The older you get, the less people make sense. That s bull. What do you know? Who was the last person that you talked to besides me? Maybe you should put some clothes on. Why? Do I thrat you? Do you not like a woman s body? I m going to get changed. Tracy, I have no explanation for the way people love, or who they love or why they love them. And I m sorry that your boyfriend is gay, but don't take it out on me. I know how much it hurts. Look at me. Don't you think I know? [mosquito and cricket sounds] ♪light piano music plays SEBASTIAN: Uh...Nnn... SEBASTIAN: No, stop. This, this, this isn't what you want. TRACY: Yes. Yes, I do want you. TRACY: Don't go. I want this. You need this. SEBASTIAN: Stop. Don't you see? I don't care. I think you're beautiful. SEBASTIAN: Stop! Just get out of my house! Just get out! [dog barking sounds] [footstep sounds moving away] [bird chirping sounds] MARK: Oh, Tracy. Tracy. Tracy. Oh God, are you okay? TRACY: I had nowhere else to go. What happened? I didn t have anything. I need my phone, my keys. Where have you been? I need my stuff. Where have you been, Tracy? None of your business. TRACY: And that s pretty much it. I m coming home. Sorry to make you lose your bet, Leesh. ALICIA: I can't believe it. ALICIA: Stop that, honey, not now. ALICIA: I just wish I could hug you right now. Well, give me two days and you can. [louder clanging sounds] ALICIA: Oliver! Stop it. Oliv...Stop it. Listen to me. Don't come back. [clanging sounds] ALICIA: Give mommy that pot. You want to come back here and end up like me? I don't think so. OLIVER: Roar! Look, maybe you've got nothing, but I, I d rather have nothing in Los Angeles than nothing here. Yeah, I guess. I ll, I ll figure it out. Thanks, Leesh. ♪uplifting music plays LUANN: Ooh, that trouser snake. What did he do? TRACY: Nothing. LUANN: This is my area of expertise. TRACY: I m, I m sorry. I, I just can't. I just really need a place to live. It s not about where you live. It s about what you do in this life. Do no harm. Do listen to your innermost self. Do whatever strikes your fancy. Just do, Tracy. Yeah, thanks. Um, I really just need a place to live. I don't have anywhere else to go. I slept on the patio last night. The patio? Mm-hm. Make him move. Yeah. He thought I was staying someplace else, and... The last few days have just been really weird. LUANN: Oh you sly foxess. Who is he? No, no, no. It s not like that. Come on, you can tell Luann. Come on. I wasn t cheating. We re just friends, but um, I ve been spending a little bit of time at Sebastian s. What? My Sebastian? Yeah. [dog barking sounds] [knocking sounds] Don't shut the door. Hey. Are you going back to Wisconsin? No. MARK: Moving in with your new boyfriend? I don't have a boyfriend. Well you've certainly been... I don't have anyone. Trace...I m really sorry about the other day. I just lost it. MARK: Where s all my stuff? Packed. LUANN: There is no way you're getting your deposit back. LUANN: Have you seen any good movies lately? No. Oh that s a shame 'cause there are some very, very good ones out there. You look really familiar. I met you seven years ago when you moved in. No, I mean, besides that. Are you from Miami? Not again Pooch. You're Mitzi. From My Pal Pooch. That s right, baby, I am. Wow. I loved that show. Yeah? I think that s everything. Tracy, you mean more to me than anyone in the whole world. You're family. And I m going to do whatever it takes to make sure we stay close for the rest of our lives. You're so full of it. This is how you treat your family? For six, six years... You let me believe... I gave you everything that I had, and all you gave me was lies. I don't know anything about you. I m just so embarrassed. I don't think that I ll ever get over it. Do you need any money til you get a job or something? fck you, Mark. [footstep sounds moving away] [door opening and closing sound] Give me a word, any word. LUANN: Just play along. SEBASTIAN: Revolting. Perfect, revolting. One word. Many shadings. One. Verb. To renounce allegiance. Two, also verb. To be offensive to the taste or sensibilities of. Because you Are a revolting person, you revolt me. Therefore, I shall revolt against you. Tada. That s impressive. I think it s time you left. Have I revolted you? No. I just think that I ve reached my quota for human interaction for the day. Understood. Has anybody signed up for tomorrow s slot? What are you doing here? Do you want the truth or a lie? Lie. The truth is you fascinate me. I gotta dash. I ll see you tomorrow? [landline phone ringing sounds] [voicemail clicking sounds] TRACY: Hi, this is Tracy. If you want to reach Mark, TRACY: you can call his cell. TRACY: Or just leave a message for me at the beep. [beeping sound] TRACY S DAD: Tracy, it s dad again. TRACY S DAD: Why aren't you calling me back? What is going on out there? TRACY S DAD: We watched that video of Mark on the Internet. Is that real? TRACY S DAD: Your mom hasn t stopped crying since she saw it. TRACY S DAD: Call me back the minute you get this. [beeping sound] ♪dark dramatic music plays NEWSCASTER: Celebrity Stalker exclusive. Actor Mark Lewis in a leaked gay sex video. Warning, this is explicit. [moaning sounds can be heard] [indistinct voices] KRISTA: Can we talk? What s up? KRISTA: I need to know, was this a one time, I m drunk, it s college, let s experiment kind of thing? Or are you whole-hog gay? Ah, shit. Uh, it was college. I had no idea he was taping it. I was just experimenting. It looks like you knew exactly what the fck you were doing, and it looked like you were having a good time doing it. I was on ecstasy. You can't lie to me. If we have any hope of salvaging any kind of career for you, I need to know exactly what I m dealing with. No more surprises. I m on your side. I just need to know the truth. I m gay. fck. I ve never said it out loud before. Well bully for you. Uh, are there any other tapes? I don't think so. Shit. You sound entirely unconvincing. Okay, so we re just going to spin this as a phase you went through. You were experimenting after seeing all sorts of new things in college, but ultimately, all it did was help to reaffirm your complete and total straightness. Is that why you broke up with the girl? Well, you need to patch things up. Yeah, that s not gonna happen. Do it. I don't care what you have to do. Do it. No. I, I can't do that. What is more important to you? Do you want a career as an actor? Then you're going to have to patch things up. What if I just come clean? I mean, what are they gonna do, kick me off the movie? They'd have to start over. I m gay, so what? We can just tell the truth. No, we can't. Yes, they will fre you. Why throw good money after bad? If you're gay, this movie s dad in the water. So don't be gay, got it? Go make up with Tracy. ♪upbeat jazz music plays Oh my God. Oh come on. It s still wine. Okay. But only because you want me to. Thank you. Still don't like this stuff. Ugh, I don't know. Stupendous. Tomorrow, we try beer. Don't push it. I m pushing every day, baby. Stupendous. I m sorry. Is that against the rules? Oh well. ♪upbeat jazz music continues RICKY: Hey, hey, Hot Wings. Long time no see. Can I get a chicken burrito? That s it? Where's the adventurous spirit? Right. Um, Megan, chicken burrito please? MEGAN: Chicken burrito, coming up. [traffic sounds can be heard] RICKY: Well, I m glad you came by. It s nice to say goodbye to my prettiest customer. We re shutting the truck down next week. What? You've seen the lines. Nobody wants our food. We re losing money hand over fist. I have tried every food truck in L.A. Yours is the best. Well, hipsters have spoken. That s ridiculous. MEGAN: Chicken burrito. RICKY: No, Tracy, please. This one's on me. [soft crying sounds] RICKY: Hey, hey, hey. Hey, we ll...It s okay, we ll be fine. PAULA: So, you excited about today? Yeah? I tell you something, that workout scene is going to be epic. You know you're klling it out there, right? You know that, right? Yeah. Okay, all right, great. Great work, great work. We ll uh, see you in a bit. PATRICK: This sucks. KRISTA: Hey, you, hands off the merchandise. Are you kidding me? KRISTA: I think it s better if you two weren't seen together, don't you? PATRICK: I think we re on set. KRISTA: I don't care. This is how it has to be. Right Mark? ♪low piano music plays [traffic sounds heard in distance] ♪upbeat music fades in ♪upbeat music intensifies RICKY: Tracy! RICKY: You made it to our last day. TRACY: Maybe. Maybe not. I have a business proposal for you. Can I come in? ♪latin music plays TRACY: Yucatan Wisconsin. Check this out. Jicama slaw with dried cranberries. Try it. Beer-battered brat poc chuc. Are you kidding me? Holy. Shit. TRACY: Don't close the truck. Let s rebrand it and sell really good hybrid food. We ll call it... Yucatan-consin. MEGAN: That s a terrible fcking name. Okay, but still. What do you say? SEBASTIAN: I'll see you tomorrow. LUANN: Right on. SEBASTIAN: Good. Oh, I almost forgot. Okay, can I open this? No. Right, okay. I finally, finally found this for you. What is it? About fifteen years ago, there was a movie shting all around this neighborhood, and I was the locations manager. And what I wanted to do was give you a taste of the outside, so, this is sort of like Google Maps but homemade. It s beautiful. There's your house. LUANN: You are here. ♪heartwarming music fades in LUANN: You are here. I m afraid. I know. We re here together. I m not going anywhere. It s okay. ♪latin music plays RICKY: Here, here, here. Try it. Huh? TRACY: Wow, that s amazing. RICKY: Mm-hmm. Can we work that into a mac-and-cheddar dish? Yeah. Yeah, why don't we throw in some pork shoulder and some ancho chiles? Are they hot? I think a smoky flavor would be best. Try it. ♪latin music plays RICKY: Oh my God. Your knives are the worst, seriously. I know. Working on it. Mmmmm. Ew. Ew. Oh, ew. Yuck. It s bitter. Yeah, you're supposed to cook them first. You're evil. They're only slightly bitter after you cook them. I think they accentuate the sharpness of the cheddar nicely. Let s give it a try. ♪latin music plays If these all work that s seven mains. That s about right, yeah? That s perfect. ♪low guitar music plays [indistinct voices] [bird chirping sounds] [cell phone ding and buzz] ♪soft positive music plays [fast knocking sounds] SEBASTIAN: One second. Okay, it s all clear. Come in. [door opening sound] [door closing sound] Hi. Hi. Glad I caught you at home. How long have you been working on that line? About three weeks. I am the biggest A-hole. Go on. I was so selfish. I should ve never... No, no you shouldn t have. So. What can we do to fix things? Anything? I pretend it never happened. Okay. I ll get the wine. Ha, ha. Okay. TRACY: Hey, where d you put all the empties? You want to see my painting? TRACY: Okay... TRACY: Wow. It s so realistic. SEBASTIAN: Yeah, it s this whole new technique I m trying out. What is it? It s the view from Luann s bay window. My Luann? No. My Luann. Your Luann? Yes. Yes indeed. Oh, you dirty dog. SEBASTIAN: I am. That s great. SEBASTIAN: Ow. ♪high energy latin music plays [indistinct voices] RICKY: Alright, what s your name, darling? MICAH: Micah. RICKY: Micah, lovely name. What do you want? MEGAN: Order up for Tiffany. Tiffany, there you go. Thank you, have a good day. Oh my God. She was so hot. RICKY: One Pork Mac, one Poc Chuc! TRACY: Pork Mac, Poc Chuc. RICKY: Yeah. For Lisa, huh. TRACY: For Lisa. Okay, next. Are you gay? MEGAN: Yeah, that I am. RICKY: What do you want? What's your name my friend? CONNOR: Connor. How did you know? Seriously? Look, anyone who hits puberty and doesn t know who they're attracted to is lying, at least to themselves. RICKY: Another Poc Chuc, three all day. TRACY: Poc Chuc. MEGAN: Adam. I personally have always known that... I like women. I don't like dick. Adam, order up. Yeah, but dick is so... MEGAN: It happens. ♪slow tempo music plays TRACY: So... TRACY: I was thinking of having a little birthday barbecue for myself and my friend Sebastian. It s his birthday too? No, it s, it s kind of his coming out party. He s not gay, he just, he just doesn t get out much. Are you sure you want to cook on your day off? Yeah. For him. And for you. ♪soft jazz music plays RICKY: Two hundred and forty dollars more than last night. RICKY: And we owe it all to you...Hot Wings. Am I ever going to live that down? To Tracy. RICKY: You okay? I m great. ♪soft jazz music plays TRACY: To Mexi-Consin. Who knew they'd go together so well? You did. ♪soft jazz music plays RICKY: Whoa, whoa, wait, wait. We should clean up first. Wait. It s clean enough. ♪soft jazz music plays [glass clinking sound] ♪soft jazz music plays RICKY: Are you going to be able to walk... [glass sounds] ♪upbeat music plays [traffic sounds] [bird chirping sounds] LUANN: Are you going to be sufficiently able to do this? SEBASTIAN: It s time already? Yes. I m gonna be tardy, and so will you. If you want, I can always swing by here on my way to Tracy s. Lu, I ll meet you there. Okay. I mapped it, and it s close, so I m going to print off directions and walk and then... Mm-hm. You're sure? I can do this. You can do this. You can do this because you're a stalwart man. I m a scared man. I know. But it s gonna be okay. Trust me. Mm-hmm. TRACY: I swear, every year, no matter where I am, my birthday s always the hottest day of the year. RICKY: Mmm. MEGAN: You okay? Yeah. I m good, I m great. How s the grill? It s clean, it s hot, it s ready to go. Awesome. Yeah. MARK: Uh, hi. I m sorry. I didn t realize. This is a bad time? RICKY: No, no, no. Sebastian, it s Ricky. It s nice to meet you. What are you doing here? I wanted to see you. Why? It s your birthday. I uh... RICKY: Uh, should we... TRACY: No. Do you mind, just like, five minutes? I mind. Come on, Trace. Just give me a chance. You got something to say? Say it. Talk to me. For once. This is stupid. I m leaving. See ya. [hollow metal clang sound] MARK: fck. Fine. MARK: I get it. I m gay, I...and I really didn t want that. But it s just true. We both knew it. Makes me sick how I treated you. I just uh, I don't know, um... I'm really sorry about it. That s all. Mark, wait. I loved you. I made a lot of really bad decisions because of that. RICKY: Hey Megan, let s go. That was embarrassing. Is he uh... Oh you know...I don't know. He s really good-looking. I know, right. TRACY: Can I open it? [paper ripping sounds] Mark...you broke my heart. I...I... I...um... I can't hold who you are against you. At least not forever. Maybe for a little while. Well, will you call me when you're getting close? Yeah, totally. Thanks Tracy. TOMAS: Hey. What's up, movie star? MARK: Hi. Is Jonathan home? JONATHAN: You sure you want to do this? Cause up til this point, the public will believe whatever you tell them. But if you do the interview... cross that line, you cannot come back from it. You'll be fair? JONATHAN: Whatever it s worth, I do believe the closer you get to your true self, the happier you are. I remember in second grade, I couldn t stop staring at Will Hauser, and I reme...I remember thinking, I bet this is a crush. But... but that doesn t make sense. [mosquito sounds] ♪soft string music plays RICKY: It was really a good experience. LUANN: Hi! Happy birthday, you gorgeous girl. Thank you. I m sorry I m so tardy. LUANN: That s for you. Thank you. Where s Sebastian? He s not here? Hm-mm. Fudge. [faint knocking sound] [mosquito sounds] Hi. LUANN: Next time. We ll do it next time. This is the worst birthday ever. You've got me. I can't. What s up? Oh Ricky, I mean, you're just like, the best guy, but... I know. But... I just can't do this. You're going to swallow me up. Well, that sounds like... I m serious. I can feel it happening already, what can I do for him? How can I make him happy? Aw, come on. I like you a lot. But we re in business together. ♪soft music plays That truck is the most important thing to me. I can't do both, not right now. Can we be...colleagues? Colleagues? How about friends? Friends sounds good. But no slipping. I promise. Thank you. Bye Hot Wings. Bye. ♪soft happy music [knocking sounds] Hey. It s not hoagies, but I think you'll like it. Happy birthday. LUANN: Okay. Break it up and get your ass down here. I m famished. SEBASTIAN: So what d you bring? TRACY: You're going to love this. SEBASTIAN: Yeah? TRACY: I made um, I made a German potato salad... TRACY: I thought I knew exactly what my life was going to look like. Man, was I wrong. I m twenty-two years old, and I don't have anything I ever wanted. But I ve got me, and I ve got friends, and that s a pretty good start. LUANN: This is so great. TRACY: I put, it s a lemon-basil dressing. LUANN: What the... TRACY: I know, right. ♪ up tempo music out	{"type": "movie", "show": "Happys, The (2016)", "episode": ""}	foreverdreaming
♪ ♪ ♪ ♪ ♪ ♪ Isabella: Good morning. Travis: Just over there. Thanks. Isabella: I've run the numbers, Uncle Travis, and it turns out we produced twice as many grapes as we can use this year. Travis: Yep, and we'll sell the excess grapes that we can't use to California, like your dad always did. Isabella: I want you to try something. Travis: Great, first taste of your new wine? Isabella: You'll see. So I lowered the sugar content and smoothed out the tannins in this year's Pinot Noir. [laughs] Travis: Experimenting already? Isabella: Just taste it. [sniffing] [sipping sounds] Travis: Wow. This is amazing. Isabella: Well it's probably just beginner's luck. Travis: My niece, the winemaker. You know your dad would be so proud of you. Isabella: Well you're the one who insisted we put in the new drip irrigation system and it's made all the difference in the world to our grapes. Travis: Well that's true. You can't make good wine without good grapes, right? Isabella: Exactly. I mean we're growing the best Pinot Noir grapes in Oregon. We should increase production. Travis: Isabella, we're not selling the bottles to increase production. Isabella: Not yet. ♪ ♪ ♪ ♪ Anton, hi, it's so good to see you, thank you so much for your time. Anton: Of course, Isabella, what can I do for you? Isabella: Well I need a wine distributor. Anton: Ricci Heritage Reserve I like the name. Isabella: Oh, thank you, I named it to honor my dad. Anton: He was a good friend. Isabella: Yeah. Oh. Chateau Saint-Fournier? Are you distributing for them now? Anton: Yes, I just snagged the North American rights. Isabella: That's so impressive. Anton: So, who else have you shared your new Pinot with? Isabella: You're the first. Anton: Hmm, good color. Smooth, big flavor. Notes of black currant and orange peel. Fresh and complex. How many cases have you produced? Isabella: A thousand. Anton: Unfortunately that's not really enough for me to take you on as a client. Isabella: We're a boutique family producer, but we could double our output by next year with your help as our distributor. Anton: I worked with your father on the side as a favor because we were friends. He wasn't interested in international distribution, he was happy to sell his wine in local restaurants and wine bars, but I don't think that's what you want. Isabella: No, you're right. We're bigger, we've modernized, we're more efficient, that's why we're producing more grapes. And I've gotten a lot of really good feedback on this Pinot Noir. See, I see an opportunity here, Anton. Anton: I appreciate that. And although I personally love Oregonian wines, they're a tough sell. Isabella: Well, Clover Falls Vineyard is just up the road from me, I saw at least five Oregon wines when I walked in. Anton: Gold medal, West Coast Wine Competition. Silver medal, National Chardonnay Festival. Isabella: You know my dad didn't believe in wine competitions. He thought they were rigged. Anton: If you want to grow your sales, you've got to be more aggressive with your marketing. Isabella: Okay. Anton: Maybe you should enter a few local wine competitions, build up your following. Isabella: How long do you think that will take? Anton: You could be looking at a few years. Isabella: Years? Anton: What's your hurry? Isabella: Well I want to take my family's winery to the next level and, Anton, I truly believe that the Ricci Heritage Reserve is the wine to do that. Chateau Saint-Fournier won Le Grand Prix des Vins du Monde in Paris. Maybe that's the wine competition I should enter. Anton: The Grand Prix is the Olympics of wine competitions. That's what you work up to, not start with. Look, take my advice, start here in Oregon. When you've won a couple of competitions, give me a call, my door is always open. Isabella: Okay. Well thank you so much, I really appreciate it, Anton. Anton: Of course. Good luck. Isabella: Anton said we shouldn't even bother entering the French competition, that we should just start local. Travis: Why not do both? This is your year. Bella, I feel it. Go big or go home, right? Isabella: That's great but the odds of us actually winning the competition, not so great. Travis: I know. Chateau Saint-Fournier has won the last five years in a row, but you know something? This could still be a great opportunity for you to, to network. There's bound to be other wine distributors there. Isabella: That's true. Travis: And your friend Lacey, she's still in Paris, isn't she? You haven't visited her yet. Isabella: Yeah but this is my first wine, I don't want to get ahead of myself. Travis: No, Bella, you know my grandfather back in Italy, you know what he used to say to me? "Fortune favors the bold." Isabella: I know but we're not in Italy, Uncle Travis. I think I should just take Anton's advice. You know, start local, see what happens. [laughs] ♪ ♪ ♪ ♪ ♪ ♪ Travis: Isabella, Isabella. Isabella: Yeah. Travis: Read this. Isabella: "Dear Ms. Ricci, congratulations. We are pleased to inform you that your Pinot Noir has been accepted into Le Grand Prix des Vins du Monde competition in Paris." You entered my Pinot Noir into Le Grand Prix? Travis: And you were accepted, first time out. Isabella: I thought we agreed to, to stay local, Uncle Travis. I can't go to Paris, I have work to do. Travis: Bella, your dad wanted you to enjoy your life. Go to Paris, see the sights, it will do you good. [sighs] ♪ ♪ ♪ I love Paris in the Springtime ♪ ♪ ♪ ♪ I love Paris in the Fall ♪ ♪ ♪ ♪ I love Paris in the Winter ♪ ♪ When it drizzles ♪ ♪ I love Paris in the Summer ♪ ♪ When it sizzles ♪ ♪ I love Paris every moment ♪ ♪ ♪ ♪ Every moment of the year ♪ ♪ ♪ ♪ I love Paris ♪ ♪ Why oh why do I love Paris ♪ ♪ Because my love is here ♪ Henri: Have a wonderful day, Monsieur. Bonjour. Isabella: Hi, I'm Isabella Ricci, I'm here for the wine competition. Henri: Ah, oui, of course. Mademoiselle Ricci, your room is 425, on the fourth floor. Isabella: Thank you. Henri: Enjoy your stay. Isabella: And also I had a case of wine shipped here last week. Henri: I believe it is already in your room, Madame. Isabella: Okay, thank you. I'm sorry, excuse me, jet lag. What? Henri: Reception. Isabella: Hi, yes, this is room 425. You delivered the wrong bag to my room, it's a black Samsonite. Henri: Mademoiselle, we will do everything we can to resolve the situation, but the hotel is full and it may be a while before we manage to get it back to you. Isabella: Okay, thank you. It has a, a tag with my name on it, merci. Henri: Merci. Isabella: Okay. [door knocks] [door opens] Jacques: Isabella Ricci? Isabella: Mm-hmm. Jacques: I believe this is your bag. Isabella: Oh, right, wow, that was, that was so fast, I, I really appreciate it. Here you go. Jacques: No, that's not necessary. Isabella: Oh, the hotel doesn't let you guys take tips? Just one second, okay? Just stay right there. Momento. Okay here, take this. Jacques: No, no, thank you. Isabella: Oh no, no, please come on, I, I insist. It's really good, I promise. Jacques: Okay. Isabella: Oh, oh, the bag. Jacques: Yes, my bag. Isabella: Bag. Here you go. Okay well merci beaucoup. Au revoir and bon appetit. Jacques: Thank you. [door shuts] ♪ ♪ [door knocks] Lacey: Surprise. Isabella: Lacey. Lacey: So, what do you think of Paris? Isabella: I love it, but everyone is so fashionable here. Lacey: Yeah, well it is the fashion capital of the world. Isabella: Aren't you supposed to be working right now? Lacey: I am, but my boss is out so I ditched. I want to hear everything about everything. Are you dating anyone? Isabella: Yeah, I'm in a committed relationship. Lacey: With your winery. Isabella: You know me so well. Yes. Lacey: Look, I know it was a bad ending between you and Stewart, but you should maybe get back out there. Isabella: No, look, I gave dating a sht, I did. I just, you know, I've been really busy trying to update my winery and I don't have time for men. But you do, come on tell me, are you seeing anyone? Lacey: I am. Isabella: Yeah? Lacey: Yeah, I'm dating a French guy. His name is Luc. Isabella: Luc, I like it. Lacey: And he is a chef. Isabella: Stop it, you are not dating a French chef. Lacey: Yeah, oh and his new restaurant opens this week, so you've got to come. Isabella: Okay, great. I guess that means I'm not going to be able to convince you to move to the west coast any time soon? Lacey: Are you kidding? No way, I love it here. Maybe just maybe you will fall in love with Paris just like I have. Isabella: Lacey, I'm going to be here for a week. Lacey: So? Stranger things have happened. ♪ ♪ [laughs] Isabella: Don't tell me that some spoiled guest is making you check in for them. Jacques: Actually I am a guest. Isabella: Oh, so you're not... Jacques: No, I'm not a bell man. Isabella: I'm so sorry. Hey, you can still keep my tip though. Jacques: Your tip? Isabella: Mm-hmm, my wine. Jacques: Ah, yes, I have not tried it yet. Isabella: Oh, I'm Isabella Ricci. Jacques: Jacques. Isabella: Oh, Jacques, that's very French. Jacques: Yes, I am French. Isabella: Oh. Isabella Ricci, Ricci Ridge Winery in Oregon checking in. What's that? Jacques: These are my passes to the winemaker events. Isabella: Oh, I'll take one of those too please. I'm afraid you're not on the list for any outside events, they are for returning competitors only. Isabella: Oh. Jacques: Don't worry, these events are actually quite boring. Isabella: Oh, well not for me. Jacques: Well now you have time to explore Paris. You should enjoy it. Isabella: Oh no, I didn't come here to enjoy Paris, you know, I came here to work. Jacques: You can't mix business with pleasure? Isabella: I really need to find a distributor for my winery and I don't need any distractions. Jacques: Ah bon. In this case I wish you good luck. Au revoir. Isabella: Oh, see you. ♪ ♪ Jacques: When does Maman get into town? Maurice: There's been an issue with the Chardonnay grapes. She'll be here by the weekend. Jacques: Good, good. There's an idea I want to talk to her about. Maurice: A new oak? Jacques, we're making Chablis, not grape juice. Isabella: Hi, I'll have a merlot. Domain Luciole, s'il vous plait. Jacques: If you're going for a Merlot, try the LeBec. The Luciole is too earthy. Isabella: I think I can recognize a good Merlot. Maurice: I apologize for my brother. He's very opinionated when it comes to wine. Jacques: Says the man who won't drink anything that has not won a gold medal. Isabella: Oh, you only drink gold medal winners? Maurice: Life is too short to drink bad wine. Isabella: So if my wine wins the gold medal, I guess you'll be drinking it by the end of the week? Maurice: Oh, you're here for the competition? Please, come join us. I'm Maurice. Isabella: Isabella Ricci, nice to meet you, Maurice. Maurice: So, Isabella, what wine are you entering in this year's competition? Isabella: Pinot Noir. Maurice: Oh, tough category. Chateau Saint-Fournier has won the gold medal for the last five years in a row. Isabella: Yeah I know and I've tried their Pinots, and they're normally great, but last year's wasn't quite as good. Jacques: Not quite as good? Isabella: Now look, I get it. Chateau Saint-Fournier is a gold star winery from a grand old French family, but I think they've peaked. Maurice: Peaked? Isabella: Mm-hmm. Maurice: How? Isabella: Well Chateau Saint-Fournier is stuck in the past. I mean come on, people have moved on from the 18th Century where we had to hand pick all of our grapes and crush them under our bare feet. There are new winemaking technologies available. Jacques: You finally said something that I agree with. Maurice: Just because something is new does not make it better. Jacques: And you think that your wine is better than Chateau Saint-Fournier? Isabella: Well I don't know if it's better, but I think I have a sht at winning the gold. Jacques: Hmm. Pierre, what do you think? Pierre: I like last year's Pinot very much, Monsieur Fournier. Isabella: You're Maurice and Jacques, the Fournier brothers. As in Chateau Saint-Fournier. Jacques: Enchante. [laughs] Isabella: I am so sorry, I was not trying to be rude in any way. Jacques: No, no, it was nothing. Isabella: No, you know what? Chateau Saint-Fournier is an amazing winery and I love your wines. Jacques: But you are going to bat us? Isabella: Well I'm going to try. Come on, isn't that why we're all here? You know actually I will have the Luciole. Pierre: Oui. Jacques: I suppose most people can't tell the difference any way. Isabella: Okay, you know what? I can tell you the grape and the region of any wine in this bar. Maurice: That's quite a talent. Isabella: Well I grew up in a vineyard, my dad taught me every grape under the sun. Jacques: Every grape? So you make the wine yourself? Isabella: Took over last year. Maurice: Congratulations, but a blind taste test is hard even for a world class wine judge. For you... Jacques: Yes, we would not want to embarrass you. Isabella: Okay, Chateau Saint-Fournier, let's make a little wager. Blind taste test, three wines, and if I get them right, you help me get into the returning winemaker's lunch tomorrow. Jacques: Interesting. Maurice: Hmm. Jacques: But if you can't guess the wines, what happens then? Isabella: Hmm, I don't know, you tell me. Jacques: You admit that my Chateau Saint-Fournier Pinot is better than your Ricci Ridge Heritage. [laughs] Isabella: Deal. [laughs] Jacques: Ah bon. ♪ ♪ Pierre: Glass number one. Maurice: Mademoiselle, number one. Jacques: Bonne chance. [laughs] Isabella: Chiaretto grapes. From Tuscany. Maurice: That's right. Isabella: I know. Pierre: Glass number two. Maurice: You will never get this. No more lucky guesses. ♪ ♪ Isabella: Chardonnay grapes. Dry. Flinty. Has to be Chablis. Jacques: Wow. Pierre: Et glass number trois. Maurice: Good luck with this one, Isabella, you're going to need it. Jacques: I'm looking forward to hearing you say that my Pinot is better than yours. Isabella: Ah, ah, ah. Okay. Jacques: Come on. Maurice: I don't think she's got it. Isabella: This one is tricky. Jacques: Perhaps you would like to give up? Admit defeat? Isabella: No, my father didn't raise a quitter. Maurice: Oh. [laughs] Isabella: I know this one. Riesling, New York. [laughs] Maurice: Bravo. Jacques: Amazing. Isabella: Oregon for the win. Jacques: Yes indeed. I, I am very impressed. You know this is a rare talent you have, Isabella. It makes me want to try your wine. Isabella: Thank you, I appreciate that. Maurice: Well, Isabella, it was lovely meeting you, but now we have to go meet with our Italian distributor. Jacques: Yes, that's true. Pierre, put her wine on our tab please. Have a good evening and enjoy your Merlot. Isabella: Well, thank you for the wine and I'll see you at lunch tomorrow. Don't forget my invite. [laughs] Jacques: I won't. Maurice: Bonsoir. Isabella: [speaking French] si'l vous plait. ♪ ♪ [applause] Philippe: Good morning, ladies and gentlemen. I'm Philippe Thibaut, president of Le Grand Prix des Vins du Monde. In the next few days we will be judging over a thousand wines from over 40 countries. The wines will be divided into six categories. Red, white, sparkling, rose, dessert, and ice wine. The winners will advance to the final round where they will be judged again. The bronze, silver, and gold medals will be awarded in each category at the Awards Gala. Good luck to all of you, may the best wine win. [applause] Maurice: Excuse us. Isabella: Oh, wait. What's on the agenda, boys? Maurice: Agenda, what agenda? Isabella: Oh, you know, we're the Pinot makers, we've got to stick together. Maurice: That's right, well Jacques will take care of you. He can introduce you to all the right people. Jacques: What people? Maurice: Journalists, distributors. Isabella: Really? Because that would be so amazing. I don't know anyone. Maurice: Perfect. Jacques knows everybody. Isabella: So, this is so great. Jacques: Yes. Isabella: We're going to have so much fun. Christina: Jacques. Cheri. Jacques: Christina. Christina: How are you? Jacques: Good. Ah, you look beautiful. Christina: Thank you. I was hoping we could have dinner while you're in Paris. Jacques: Yes, yes, this would be perfect. Oh... Isabella: Sorry. Jacques: Christina, this is Isabella Ricci. Christian: Isabella, pleased to meet you. Isabella: You too. Jacques: Christina is one of the best sommeliers in all of Paris. Isabella: Oh, that's amazing. Well then you're going to need one of these. Christina: Ricci Heritage Reserve. Ricci Ridge Winery. Isabella: Yes, from Willamette in Oregon. Christina: I've never heard of it. Isabella: Oh well it's our first time in the competition, so. Christina: Congratulations. Isabella: Thanks. Christina: Do you have a bottle of your new Pinot, Jacques? I want to share it with the chef in my restaurant. Jacques: Bien sur, I'll have someone send it over to you. Christina: A bientot. Jacques: A plus tard. What's wrong? Isabella: It's just, you know, everyone knows your wine, Jacques, they're practically throwing themselves at you. I just, I have to figure out what I need to do to get noticed around here. Jacques: Can I give you some advice? Isabella: You know why do people ask that? Because they're always going to give advice any way. Jacques: Well I was just trying to be polite, but okay I will say it. You need more patience. Try to relax a little. Isabella: Relax? Jacques: Yes. Look, you have an amazing talent, Isabella. Now I have not tried your wine yet, but it must be incredible if it was accepted into the competition. So you don't have to try so hard, just let the distributors and the sommeliers come to you. You seem a bit too eager. Isabella: Oh well I am eager. I only have a few days in Paris here to find a distributor and speaking of which, how are we going to get me into the returning winemaker's lunch? Jacques: Ah, yes, I have been thinking about this very carefully. My mother can't be there, so you use her name. Say that you are Margot Fournier. Isabella: You want me to say that I am your mother? Jacques: Why not? Isabella: Well how old is she? Jacques: French women never speak about their age. Isabella: No, no, no, no, no, we're going to need to just stop and, and clarify. Do you actually believe that people will think that I am your mother? Jacques: It's the best I can do. [laughs] Isabella: What? No, you're serious. ♪ ♪ Planner: S'il vous plait. Isabella: Bonjour. I'm Margot Fournier. Planner: Margot Fournier has already checked in, Madame. Isabella: Oh. It must be under Isabella Ricci. From Oregon. Planner: I'm afraid you're not on the list. Are you a returning winemaker? Isabella: Not exactly. Jacques: Ms. Ricci is with me. Planner: Sorry but she's not on the list, Monsieur Founier. Jacques: She's my plus one. Planner: But of course. Isabella: Thank you so much for saving the day. Jacques: I did not know that my mother was coming back to Paris so soon. Ah, bonjour. Ah, merci. Isabella: Thank you. Margot: Jacques. Jacques: Maman. Margot: Mon cheri. Ah, the only new face I've seen all day. Are you going to introduce me to your friend? Jacques: This is Isabella Ricci. Isabella, this is my mother Margot Fournier. Isabella: Oh, it's so nice to meet you. I'm from Ricci Ridge Winery. Margot: You're from America? Ah, Napa Valley? Sonoma? Isabella: A little North. Oregon. Margot: Oregon? Lovely, cool climate. The Oregon wines are similar to the Pinot in gn. Isabella: Yes, yes, I actually entered a Pinot Noir into the competition. Margot: Good for you, it's nice to see more women in the competition. Isabella: Oh. Maurice: The Pinot Noir grapes may be the same, but new world wines are different. Like comparing the Empire State Building with the Eiffel Tower. We prefer the traditional process. Jacques: Well not all of us. Isabella: I love traditional wine, but I just find that tastes have evolved, that's why I shortened the harvest and automated my process. Maurice: Exactly. Margot: She knows her wine. Isabella: Thank you so much, my dad taught me everything he knows. Margot: Ah. Maurice: A machine can't pick out the best grapes like a vendangeur. We get workers of the highest skill to choose the best grapes. That's how the ancient Romans did it. Isabella: Yeah, we all know how things turned out for them. Margot: Ah, smile, everybody, Jonathan Ronen is eavesdropping. Isabella: Jonathan Ronen, as in the world's top wine journalist. Margot: Oui. Maurice: He's nothing but a gossip monger. Isabella: Oh yeah, but all press is good press, right? I mean free publicity. Jacques: Be careful what you wish for, Jonathan's reviews can be vicious. Margot: And, oh, here he comes. Jonathan. Jonathan: So nice to see you. Margot: Comment ca va? Jonathan: Jacques and Maurice, I hear you've both entered very similar Pinots into this year's competition and the winner gets to choose the future of Chateau Saint-Fournier. Margot: Who told you that? Jonathan: I have spies everywhere, Margot. Is it true? Maurice: No comment. Jacques: Maurice and I both entered wines into the competition to make sure that Chateau Saint-Fournier would win gold again. Maurice: Vrai. Isabella: You know I heard the Ricci Heritage Reserve is a real contender this year. Jonathan: And you are? Isabella: Isabella Ricci, the maker of Ricci Heritage Reserve. [laughs] Jonathan: Never heard of it. Isabella: Oh, it's a, you know, it's a, it's a real underdog story. It's a about a scrappy Oregonian winery taking on the traditional French winemaking establishment. It's, you know, people love that kind of stuff. Jonathan: Well not my readers, they like reading stories about the classic wineries. The wineries that actually have a chance at winning. Jacques: Well I think that... Maurice: Jonathan, perhaps now may be a good time for our interview? Jonathan: Well there's nothing else of interest here, so... Margot: A plus. Bonne chance. Isabella: Bonne chance. Jacques: Don't worry about him. Jonathan is mean to everyone. Isabella: Just hoping to get some exposure for my winery, Jacques. Jacques: I know, I know, but it's, it's going to take time. Isabella: That's the problem, I don't, I don't have time. Jacques: Maybe I could help you. I, I do know lots of distributors. Isabella: Really? Jacques: Ah, Mick. Mick: Jacques, great to see you again, my friend. Jacques: Hey, hello, may I present to you Isabella Ricci. Mick: Hi, nice to meet you, I'm Mick Hamilton with Hamilton Fine Wines. I handle all our North American distribution. Isabella: Perfect, I am the maker of the Ricci Heritage Reserve, from Oregon. Mick: Oregon, that's a bit of a tricky market. Hey, Jacques, tell me, are you still happy with your current distributor? Jacques: Mick, we've been with the same people for decades, you know this. But listen, Isabella is an exciting new winemaker. She's here in the competition for the first time, she could be a great get for you. Mick: All right, I'm intrigued, Ms. Ricci. Isabella: I'll give you one of my cards and if you have one, I, I'll send over a bottle to you. Mick: This is all my contact information and I very much look forward to that bottle. And, Jacques, if you're very looking for a new distributor. Jacques: Merci, Mick. Isabella: That was incredible, thank you so much. Jacques: It was nothing. Isabella: No, it wasn't nothing, you vouched for my wine. Jacques: You know it doesn't mean he's going to take you on as a client. Isabella: Yeah, yeah I know, but still it was really, really nice of you. Jacques: I suppose now I'm going to have to try your wine. [laughs] Isabella: You haven't even tried it? Oh, sorry. Oh sh*t, I'm supposed to meet my friend Lacey this afternoon, so I'll see you later. I'm going to be back at the hotel, you know, some time after dinner. Jacques: Okay, I'll see you later. Isabella: Sure, later. ♪ ♪ ♪ ♪ Excuse me. Oui? Isabella: Is Lacey Betts here? Okay, thanks. Lacey, hi. [laughs] Lacey: Oh my gosh, it's so good to see you, how are you doing? Isabella: I'm good, I'm good, it's just everyone in Paris is so fashionable and I was hoping maybe you could help me step up my game a little. Lacey: Yes, you've come to Melttemi, one of the best fashion houses in Paris. Isabella: I can't believe they actually pay you to work here. Lacey: Yeah, I mean it seemed glamorous, but we're gearing up for fashion week, so I am literally going to be sleeping here this month. Okay here, you should try this on. Isabella: Okay. Lacey: So, tell me, how's the wine competition coming along? Isabella: I'm not even in the same league as half these competitors. Lacey: Okay, that is way too big. Isabella: You know the winemakers here, they own the top wineries in the world. Lacey: Oh winemakers like who? Isabella: Like Jacques and Maurice Fournier. Lacey: Wait, did you meet Jacques Fournier? Isabella: Yes. Lacey: What is he like? Isabella: Kind of charming and he told me that he thinks I have a great palate. Lacey: Oh he did, did he? That's a very nice compliment and he should know, his vineyard makes the most amazing wine. Luc is obsessed with their Pinot. That looks amazing on you. Isabella: Yeah, I love it. Actually looks like I'm from Paris. Lacey: Yeah well fashion is just an attitude, you've just got to know you look good to carry it off and you, my darling, you look amazing. Isabella: Thank you so much, Lacey. Lacey: Yeah, of course. Isabella: Okay, how much do I owe you? Lacey: Nothing, just bring it back when you're done. Isabella: Are you sure? Lacey: Yeah, I'm going to be your personal stylist while you're in Paris. Isabella: Ooh, never had my own personal stylist before. Lacey: Yeah, well we've got to keep you looking good if you're going to be hanging out with the likes of Jacques Fournier. Isabella: Okay we are not hanging out. Lacey: He was named one of France's most eligible bachelors. Isabella: Yes, well I think that he has a girlfriend, her name is Christina and she's a world famous sommelier, super gorgeous. And you know what? I didn't come here to meet anyone. Lacey: No, of course not. Because meeting somebody in the city of love, I mean that could never happen. Isabella: Okay, I know this look. You're not setting me up. [laughs] Lacey: Okay. [laughs] ♪ ♪ Jacques: Bonsoir, Pierre. Pierre: Bonsoir. Jacques: Have you seen the American woman that Maurice and I were speaking with last night? Pierre: The wine taster? Jacques: Yes. Pierre: No, not tonight. Jacques: Too bad. Could you open this for me? ♪ ♪ ♪ ♪ Perfect. Philippe: Ladies and gentlemen, the judging of the wines will now begin. ♪ ♪ ♪ ♪ Isabella: Oh, hi, excuse me. Hi, excuse me, you don't happen to know what kind of wine they're tasting, do you? Volunteer: It's a blind test. We don't even see the labels, it's just code. Isabella: Okay, of course. Jacques: Good morning. Isabella: Hi. Jacques: I've been looking for you. Isabella: Oh, you have? Jacques: I tried your wine last night. Isabella: Oh, what did you think? Jacques: I would rather not talk about it here at the hotel. Isabella: What, you're just going to make me wait? Jacques: You know that the wine judging is going to take all day? You'll make yourself crazy if you wait here. Isabella: Yeah, I already have. Jacques: Okay, so let's take a break. ♪ ♪ ♪ ♪ Isabella: How many different kinds of cheeses do you think there are in France? Jacques: Oh about 400 more or less. Isabella: I'm going to try them all. [laughs] Jacques: And there are 470 top quality wines. Isabella: That might take a little longer. Jacques: Do you think you can guess this one? Isabella: Let's see. Chianti grapes. From somewhere in Italy, that's all I've got. Jacques: How do you do that? Isabella: I don't know, my dad made me try every single wine under the sun. Jacques: Wines are like fingerprints, each one is unique. Isabella: Yeah, my dad used to say that. You know he didn't believe in marketing and he was fine with being a local winemaker, you know, just that. I mean not that there's, there's anything wrong with that. Jacques: No, of course not. But you, you want more than this? Isabella: Yeah I do. You know I made the Ricci Heritage Reserve to honor the legacy of my dad and I just, I want to make wine that everyone loves. Jacques: And that is exactly what you have done. Isabella: Oh come on, how can you be so sure? Jacques: Because I've tasted your wine last night. It's incredible. Isabella: Really? You're not just teasing me? Jacques: No. It's rich, and complex, sophisticated, it's, the taste was like velvet with a hint of spice. It was perfection. Bold and beautiful, unlike anything I've ever tasted. Isabella: Okay, now you're just getting carried away. Jacques: No, I'm serious. Isabella, you have made an incredible wine. And that is the real accomplishment. You know it doesn't matter what the critics are going to say, or what will happen with the competition, you should feel very proud of yourself. Isabella: Thanks. What about you, did you always want to be a winemaker? Jacques: I did not have a choice, wine is in my blood. Isabella: Yeah, but you like the work, right? Jacques: I love it. Maybe too much. You know everything has its price. Isabella: What do you mean? Jacques: My ex wife is from Paris and she never liked living in gn. She did not even really like wine. You know some things are meant to be together. The right wine, the right cheese, they compliment each other. But she and I, unfortunately we were not a good pairing. Isabella: Well I'm sorry to hear that. Jacques: Thank you. But you know this is all in the past. Here is to the future. ♪ ♪ This is the Cathedrale Notre-Dame. Isabella: Wow, as in the Hunchback of? Jacques: Yes, the novel from Victor Hugo. Isabella: Or the musical. Come on, we have to take a photo. Here. Smile. [laughs] Jacques: My brother and I used to play in there when my mother would come to Paris for business. Isabella: Yeah, what's going on with you two? It seems like there's a little bit of tension. Jacques: Ah. Maurice entered his own Chateau Saint-Fournier Pinot into the competition, I made mine. We entered separately and whoever made the best wine will decide the future of our company. Isabella: Oh wow, so you have a lot to prove to Maurice. I mean you really need to win the gold. Maurice: You know when we are not talking about business, we are the best of friends, but lately this is all we talk about. Isabella: Well where is Maurice now? Jacques: He is at a meeting with our British distributor. Isabella: The Brits love their gn. Jacques: You know we actually sell more to Americans. Isabella: Oh? Jacques: Yeah. Isabella: I'm not keeping you from anything really important, am I? Jacques: No, no, he would prefer that I am not there so I don't scare off our buyers with my new ideas. Isabella: Oh come on, I'm sure that's not true. Listen I worked with my dad and my uncle, and we disagreed all the time, but in the end we're family. Jacques: And family is important to you? Isabella: It's everything. Jacques: I could not agree more. Isabella: This is incredible. Jacques: This is Le Petit Palais. It's very beautiful. Would you like to go? Isabella: Sure. ♪ ♪ ♪ ♪ Well that's it. Well this is Sacre Coeur, one of the most beautiful landmark in all of Paris. Isabella: So amazing. [laughs] ♪ ♪ I had a really great time today, you're a wonderful tour guide. Jacques: I had fun as well. [laughs] Isabella: Well, well here we are at the elevators. You know they're announcing the, the finalists at breakfast tomorrow and I was wondering if maybe you wanted to join me. Jacques: I would love to, except I have to be there any way. [laughs] Isabella: Right, of course. I suppose you do. Well then, okay, I'll see you tomorrow at the breakfast we both have to be at. So, okay, good luck. Jacques: Bon chance a toi. ♪ ♪ ♪ ♪ [sighs] ♪ ♪ Margot: You disappeared yesterday. Maurice: He's been busy showing his friend Isabella around Paris. Margot: Playing the tour guide to the American? Jacques: No, I just wanted to be polite. And you know her wine is superb. Margot: That's high praise coming from you. Are you concerned? Jacques: No, I think it might help us improve. Maurice: We don't need to improve. Chateau Saint-Fournier has been made exactly the same way for the last 300 years. Jacques: You know, Maurice, change is a good thing. Margot: Please don't argue in public. Where is your badge, did you forget it? Jacques: I couldn't find it this morning. [cell phone ringing] Isabella: Hey. Lacey: Hey, did you make it to the next round? Isabella: They're making the announcements in a few minutes, so I actually got to go. Lacey: Oh wait, can you bring Jacques to Luc's restaurant opening tonight? He's dying to meet him. Isabella: Yeah, sure, I can ask him. I've got to run. [applause] Bonjour. Jacques: Good morning. Maurice: Bonjour. Margot: Bonjour, Isabella. Isabella: Bonjour. Philippe: Good morning, everyone. The judges have decided which wines will enter the final round. And from these finalists, they will decide the medal winners in each category. We'll start with Pinot Noir. So first off Chateau Saint-Fournier Pinot Noir gn, France, Maurice Fournier. [applause] And the next Golden Sky Winery Napa Valley, California, Seth and Diana Ridgeworth. [applause] And for the next wine, it's the first time that this region has ever made it to the final. Empire Gorge Winery Finger Lakes, New York, Sumont Robert. [applause] And of course Chateau Saint-Fournier Reserve Pinot Noir gn, France, Jacques Fournier. Maurice: Brother. Isabella: Congratulations. Jacques: Thank you. Philippe: Congratulations to everyone. Oh, sorry, I didn't see the last one. Ricci Heritage Reserve Ricci Ridge Winery... [laughs] Jacques: Congratulations. [applause] Isabella: Congrats. Maurice: You too. Margot: Congratulations. Isabella: Merci. [laughs] Please contact us when you're in Germany. Yes, yes, please. It was a pleasure. Isabella: Thank you so much, I'll be in touch. Jane: Ms. Ricci. Hi, I'm Jane Townsend and I blog about West Coast wines. I'm wondering if I could possibly schedule an interview with you. Isabella: Oh yes, I would love that, Jane. Jane: Great, I'll give you a call. Jacques: Hello. Isabella: Hi. Jane: Jacques Fournier. It's an honor to meet you. Jacques: Pleasure is all mine. I see you've already met Isabella. Jane: Yes, just now. Have you tried the Ricci Pinot? Jacques: Ah yes, I have. Jane: And can I quote you? Jacques: Of course. The Ricci Heritage Reserve Pinot is rich, smooth, and unexpected. It's the wine to bat this year. Jane: Thank you. I am going to post that right now. Isabella: Thanks. Wow, that was a really, really nice thing for you to say. Jacques: I was just telling the truth. Isabella: Well I appreciate it. Christina: Jacques, salud. Jacques: Christina, hello. You remember Isabella? Christina: Of course. Isabella: Hi. Christina: So I think I made a mistake giving Jacques' wine to my chef instead of yours. Jacques: What? I am offended at this. Christina: You'll survive. Isabella: Well, you know, we both made it as finalists. Christina: I'm going to give your wine to my chef tonight, I promise. Isabella: Oh, thank you, that's very nice. Jacques: Excuse me, I see someone I must speak with. A plus tard. Christina: I am so glad you are spending time with Jacques. It's nice to see him smile again. Isabella: So you two aren't dating? Christina: No. We are old friends. He's like a brother to me. Isabella: Oh. Okay. Christina: Good luck. Isabella: Thank you. Philippe: Mademoiselle Ricci, there is a reception later for the finalists, can you join us? Isabella: Yes, I would love to. Philippe: Everyone is looking forward to trying your wine. Isabella: Great. Philippe: I'll see you. Isabella: Okay. Wow. Philippe: Bonjour. Jacques: Mademoiselle Ricci. So have you found a distributor yet? Isabella: Well I have a few people who are interested, but no one will commit until after the awards are given out. Jacques: So this means you have some time. Isabella: Time for what? Jacques: To visit a boutique perfumery. Isabella: You know I, I don't think that's on the tourist trail. Jacques: No, no, no, Chant Bleu is a very special perfumery. It's owned by an old friend of the family, my mother has been going there for years. Isabella: You know I was actually hoping to go to a panel on label design. Jacques: Why? No, your label for Ricci Heritage Reserve is beautiful already. It's classy, elegant. They're not going to teach you anything that you don't already know. Isabella: Yeah, what am I going to learn at a perfumery? Jacques: Well you see, making perfume is not an exact science, it's half chemistry, half art. Isabella: Like winemaking. Jacques: Exactly. So, we go? Isabella: Pourquoi pas? [laughs] Jacques: Very good. Isabella: Did I say that right? Jacques: You did, exactly. Pourquoi pas? Isabella: Pourquoi pas? Jacques: It's not so Spanish as this. Perfumers are alchemists, meet artists, meet chemists. They use all of their knowledge and talents to compose their masterpieces. Isabella: Masterpieces? Jacques: You will see. [laughs] Voila. The perfumes of Chant Bleu are available only in Paris, but they're sought after by royalty all over the world. Claude: Jacques. Jacques: Claude. Claude: So good to see you. Jacques: And you. Claude: How is your wonderful mother? Jacques: Ah, tres bien, merci. Claude: Good. Jacques: May I present to you my friend from America Isabella Ricci. Claude: Enchante, mademoiselle. Isabella: So nice to meet you. Your shop is beautiful. Claude: Merci. And your timing is impeccable. I've just finished my latest Eau de Cologne. Isabella: Oh, what's it called? Claude: You know, I haven't decided yet. Here, try it. Isabella: Hmm, let's see. I detect vanilla. Claude: Mm-hmm. Isabella: Jasmine. And a hint of patchouli. Claude: Bravo, perfect, yes. It's bright and floral but with an earthy finish. N'est ce-pa? Jacques: May I? It's beautiful. Claude: You know, perhaps you would like to help me name it. Isabella: Sure, how about Summer Wind? Jacques: I know, Femme inoubliable. Claude: I love it, I love it. Femme inoubliable, voila! For you, mademoiselle. Isabella: Oh, merci. Okay so I know the word femme means woman. Jacques: Mm-hmm. Isabella: Inoubliable, what does this word mean? Jacques: Unforgettable. Isabella: This is really wonderful, thank you for taking me. Jacques: It was my pleasure. So, do you think you will go right back to Oregon after the competition or? Isabella: Unfortunately yes. You know how it is running a winery, there's always so many things to do. Jacques: Mm-hmm. Isabella: Kind of excited though because I have all these ideas I want to try out for new wines and... Jacques: You know I'm, I'm kind of jealous of you. Isabella: Of me? Jacques: Yes. Isabella: What? Jacques: You get to modernize, and innovate, and experiment with your winery. But me, my family doesn't want to change anything. Isabella: Okay, come on, your winery is a classic. It's amazing. I mean you've won gold medal five years in a row. Jacques: I suppose. Isabella: Trust me, it's not always easy being the winery nobody has ever heard of. Jacques: Well you won't be for long. Isabella: Hey, my best friend's boyfriend is opening his new restaurant tonight Chez Reboul. I was wondering if maybe you wanted to join me? Jacques: Chez Reboul, it's famous already. I would love to. Isabella: Great, I think they want us there at like 8:00. Jacques: Perfect. Isabella: Perfect. Lacey: I don't see what the problem is, he's sweet, and charming, and gorgeous. Isabella: Yeah but we're so different. Lacey: So? Luc and I are completely different, it just makes things more interesting. Isabella: We also live 8,000 miles apart. Lacey: No, definitely not, you've got to look your best for Jacques. What's wrong? Isabella: I don't know, Lacey, it's just, you know when Stewart broke up with me, it took every piece of my strength to pull myself together and... Lacey: Now you're afraid of getting involved again? Isabella: Yeah, yeah, I guess, yeah I guess I am. Lacey: Okay, I get it, I get it. This thing with Jacques is not practical, and it doesn't make sense, but you have just met an amazing guy in Paris. Most romantic city in the world. That's just proof that anything is possible in Paris. Isabella: Okay that's beautiful but you can't, just, you can't keep giving me stuff. Lacey: Yes I can, otherwise what is the point of me being a fashion designer? And... To pair. Isabella: Oh those are stunning. You know you're like a real life French Fairy Godmother. Lacey: Except I'm American. And definitely not old enough to be your Godmother. Isabella: Definitely not. [laughs] Thank you so much, Lacey. Lacey: Yeah of course, what are friends for? Isabella: You know as, as, as long as you're being so generous, you don't happen to have a clutch that might go with this? Lacey: Follow me. [laughs] [door knocks] Isabella: Hi. Jacques: Wow. You look fantastic. Isabella: Oh. Thank you. Jacques: Listen, Isabella, I, I'm sorry but my mother has just announced that she's retiring and the marketing team wants to do a whole campaign about this. Isabella: That sounds important. Jacques: They want to have a big meeting tonight though, which means I won't be able to make it to your friend's restaurant opening. I'm so sorry. Isabella: No, that's, I, I, I get it. You know, you're here to work and I'm here to work, so it's, it's fine. Jacques: Oh, well I'm, I really am disappointed. Isabella: Nope it's, it's, it's okay, I'll see you tomorrow. Jacques: Okay. Isabella: Okay. Jacques: I wish you a good evening. Isabella: Yeah, you too. [laughs] Bonsoir. ♪ ♪ ♪ ♪ Merci. ♪ ♪ Lacey: You look amazing. Isabella: Thank you so much, because of you. Lacey: Where is Jacques? Isabella: Oh, he had a work meeting, so he sends his regrets. Lacey: Oh, are you okay? Isabella: Yeah, it's not like we're dating or anything. Lacey: Oh well Luc will be even more disappointed than you are. Isabella: Probably better this way, you know? Keep things professional between me and Jacques. Lacey: If you say so, but I don't think there's anything wrong with dating a cute guy in Paris. It's like Gougere, no guilt. Isabella: Gougere, what is that? Lacey: French for gooey cheese puff. Isabella: Mmm. Lacey: Calories outside the U.S. don't count. Isabella: Wow, this is incredible. Lacey: Mm-hmm. Isabella: Let's go to our table. Lacey: And this is my very own personal chef Luc. Luc: Welcome. Lacey: Isabella. Luc: Enchante. Isabella: Enchante. Luc: I have heard so much about you, Isabella, it feels like I already know you. Isabella: Yeah I, I feel the same exact way. And the food looks amazing, I can't wait to try it. Luc: Ah yes. Lacey: Oh wow, look who blew off his meeting to spend time with you. Jacques: Merci. Bonsoir. Isabella: Bonsoir. Jacques: You look beautiful. Isabella: Thank you. Jacques, this is my best friend Lacey. Lacey: Great to meet you, Jacques. Jacques: Yes, you as well. Lacey: Oh, this is Luc Reboul. Jacques: Enchante. Luc: Enchante. Jacques: The restaurant looks wonderful. Luc: Merci. And I'm a huge fan of your wine. Jacques: Ah well Chez Reboul is the talk of Paris. I, I hear you can't get a reservation for love or money. Luc: Look, you always have a table at my restaurant, okay? Lacey: Which is great, especially if I can persuade Isabella to stay in Paris. Jacques: Ah. You're going to stay in Paris? Isabella: This is the first I'm actually hearing about it. You can't listen to anything that Lacey says. Lacey: I like to put my wishes out into the world, that way I can manifest them. Jacques: Ah. Does this work for you? Lacey: Sure, that's how I met Luc, right? Luc: Pardon? I met you through my cousin. Lacey: Okay, well that's not the point. The point is wouldn't it be great if Isabella were to stay in Paris? Jacques: I think this would be great. Luc: Jacques, I have to tell you, I'm a huge fan of your new Pinot Noir. Jacques: Ah, you've tried it? Luc: Unfortunately I only have two cases, but they are saved for my favorite customers. Jacques: We have a couple of crates left back at the winery, maybe tomorrow I send them to you. Lacey: Really? Luc: Ah, merci. I appreciate that. Excuse me, I must go and entertain. Jacques: Bien sur. Lacey: It was great to meet you, Jacques. Jacques: You too. Lacey: Have fun. [laughs] Isabella: Thank you. So, did your meeting end early? Jacques: Ah, well when I suggested that we sell our wine in supermarkets, maman and Maurice looked at me as if I had brned the vineyard down. Isabella: Oh, I'm sorry. Jacques: No, it's okay. Ah, genial. Merci beaucoup. Isabella: Merci. Jacques: What's wrong? Oh no, don't tell me that this, this bold American woman is afraid to try a little escargot. Isabella: No I'm not afraid, I just... Jacques: Oh no? Mmm. It's really quite delicious. Go on, I dare you. ♪ ♪ Well? Isabella: It tastes like garlic and white wine. Yeah it's, it's kind of delicious. Jacques: You have a little something, may I? ♪ ♪ [cell phone ringing] Isabella: It's my Uncle Travis, I have to get this. Jacques: Of course. Isabella: Okay. I'll be right back. Jacques: All right. Isabella: Travis? Travis: I hate to ruin your trip. Isabella: Why, what's wrong? Travis: The crusher destemmer broke. Isabella: How bad is it? Travis: It, it's gone and we're looking at thousands of dollars for a new one. Isabella: What? No, Uncle Travis, we need that money for marketing. Is, is there any way you can get it repaired? Travis: We're trying, but if we don't get it working soon, we're going to miss the harvest. Isabella: Okay, I, I'll figure something out. Jacques: Is everything all right? Isabella: My crusher destemmer died, I actually, I have to go find a replacement. Jacques: Oh, you are leaving? Isabella: I know you just got here, Jacques, I'm so sorry. It's just I need to go and, and make sure I can find new equipment. Jacques: Tonight? Isabella: It has to be. Jacques: You don't get a vacation when you own a winery. Isabella: No, you don't. I'm really sorry. Jacques: I completely understand. I'll walk you back to the hotel. Isabella: Oh no, please stay, I don't want to ruin the party. Jacques: You know I only came here to be with you. Let's go. ♪ ♪ ♪ ♪ Jacques: Bonjour. Isabella: Hey, fancy meeting you here. Jacques: Well I've learned your routine. You have your cafe American every morning at exactly 9:30, no? Isabella: Mmm, yes. Jacques: Did you find a new destemmer? Isabella: Yeah, as a matter of fact I did, and I got a deal. It took a little bit of work, but I found a used one. I'm having it shipped up from Paso Robles next week. Jacques: That's so great. Isabella: Yeah. Jacques: I'm very impressed. Isabella: Impressed by what? Jacques: By you. By the way you get things done. So fierce, so determined, like, like a little bulldog. Isabella: Oh yeah, you know, I know you think that sounds like a compliment. Jacques: It is a compliment. Isabella: Comparing a woman to a bulldog, it's not that flattering. Jacques: I love dogs. Isabella: Still doesn't translate. You're going to have to trust me on this one. Jacques: Okay. So, what's on the agenda today? Isabella: The agenda? I thought you didn't like agendas. Jacques: I don't, I was just trying to sound American. Isabella: Ooh, yeah, I'm going to pretend like you didn't say that. [laughs] I actually signed up for the workshop, the wine critique one with Julie Montard. Jacques: Oh no, you can't go to that. Isabella: Why? Jacques: I know Julie Montard, I've heard her speak, she's so negative. Isabella: Negative? Jacques: Yes, she's sad, bitter, destructive. She's too dangerous for a fragile young winemaker like you. Isabella: Okay, you know what? I'm not that fragile, Jacques, I can handle a little criticism. Jacques: She only likes French wine. Isabella: Oh. Jacques: I could teach you everything she knows in 10 minutes. Isabella: No, no, I just, I can't skip the workshop, Jacques. You know, I came here to learn how to take my winery to the next level. Jacques: No, you came here to win the competition. Isabella: It's the same thing. Jacques: And the judges are tasting the finalists today. There's nothing you can do to change what's going to happen. Isabella: Okay, so what are you saying? Jacques: Well you already found the destemmer, huh? You saved the day, you are the hero. Isabella: A hero? Jacques: Mm-hmm. Isabella: Really? Jacques: And I think the hero should take the day off and go out with me. Isabella: Okay, you know what? I haven't even had my coffee, so what's on your agenda? Jacques: I was thinking about going to get a croissant. Isabella: A croissant? Jacques, they have breakfast at the hotel, we could just have one here. Jacques: Not like this croissant. Come on, some fresh air will be good for you, huh? [laughs] This is the Pont Alexandre de Trois, the Alexandre the third bridge. It's named for... Isabella: Alexandre the third? Jacques: Yes. [laughs] Isabella: This has to be the best croissant I've ever had in my entire life. Jacques: I hope so, it's the best in all of Paris. Isabella: Oh. So, so beautiful here. Jacques: Paris is the city of eternal love. [laughs] What? Isabella: Paris is the city of eternal love? Jacques: Mm-hmm. Isabella: Oh come on, who says stuff like that? Jacques: I'm not making it up, you know? This is a fact. So what, you don't believe in this kind of love? Isabella: Sure, I guess, for some people. My parents had that kind of love. Jacques: But not you? Isabella: Not so lucky. Jacques: Never? Isabella: Fine, okay. When I worked down in California there was a guy Stewart and he was a winemaker too. And we got really serious. We even talked about getting married. And then when my mom got sick, I went up to Oregon to help my dad with the winery and we just kind of drifted apart. Jacques: Love is like a vine, if you don't tend to it, it will wither up and die. [laughs] What? Isabella: Just there you go again. But you're right, because after a few months he called me and he broke up with me. Jacques: And now, have you given up on love? Isabella: Well it's just, you know, things are really hectic at the winery and, you know, my life is really complicated. Jacques: You know life is always complicated. It's beautiful, and it's ugly, and it's messy, all at the same time, but love, that's what makes life worth living. Isabella: You really believe that, don't you? [cell phone ringing] Jacques: It's my mother, excuse me. Isabella: It's fine. Jacques: Hello, Maman. Margot: Jacques, one of the volunteers dropped the last case of your Pinot, it's all gone. Jacques: You mean there's nothing left for the judges to taste? Margot: No. And the judges need it within the hour. I'm so sorry, I don't know what to do. Jacques: No it's, it's okay, I, I will figure something out. Isabella: What's going on? Jacques: One of the volunteers at the competition dropped my case of wine. All the bottles smashed and now I'm disqualified. Isabella: Okay so just go back to your winery and get another case. Jacques: No, gn is a three-hours drive from here, they need it in one hour. Isabella: Don't worry we'll, we'll think of something. Jacques: Not this time, my little bulldog. [laughs] Isabella: I thought I told you that women don't like being called that. Jacques: Yes, but when you are determined, your face, it scrunches up and it's very adorable. Isabella: Oh, well this little bulldog has an idea, come on, quickly. Jacques: Where... Merci. [doors close] Luc, merci, thank you for meeting us. Luc: Salud. What is the emergency? Isabella: We need all of your Chateau Saint-Fournier Pinot right away. Luc: There are two cases but I wanted to keep them for my best customers. Jacques: Give me one case and I'll have 10 more sent to you from the winery tomorrow. Isabella: He will be disqualified from the competition if we don't get them. Jacques: S'il te plait, Luc. Luc: Okay. Isabella: You should probably text your mom, tell her you're on the way. Jacques: Yes, good idea. My phone is, uh, could you? Isabella: Oh, yeah, sure. Margot: Philippe, Philippe. Jacques is on his way with the wine, he'll be here in 15 minutes. Philippe: That's too late. Jacques: I can take it back. Isabella: Oh, sure Sorry. Jacques: Okay. Oh. It's my mother, she says if I'm not back in 10 minutes, I will be disqualified. Isabella: What? Oh, I don't know if we're going to make it. Let's see. Pardon, if you can get us there in less than 10 minutes, I'll give you 50 Euro. Driver: Mm-hmm. ♪ ♪ Isabella: Thank you. Out of the way, excuse me. Jacques: Move please, please. Isabella: Thank you. Philippe: No. Maurice: Philippe, you can't judge the competition without my brother's wine. Philippe: Sorry, there's nothing I can do. Margot: Perhaps we can delay the final judging just a little bit. Maurice: Oui. Philippe: That's against the rules. Maurice: Well then take me out of the competition too. Philippe: Maurice. Margot: Maurice. Philippe: Please, you cannot do that. Maurice: Well you leave me no choice. Jacques: Hold on, wait. Isabella: We got it. We got it. Philippe: Voila, Jacques, come with me. Jacques: Oui, oui. Thank you. Isabella: Uh-huh. Margot: Where did you find the wine? Isabella: Oh, my friend Luc, he has a new restaurant and he had two cases in his cellar, so. Maurice: We owe him. Margot: Thank you, Isabella. Isabella: Sure, oh gosh, please, you don't have to thank me. Anyone would have done the same thing. Maurice: I don't understand. Jacques and I are your main competitors. If Jacques was disqualified, you have a better chance of winning a medal. Isabella: Well yeah but I wouldn't want to win unless I made the best Pinot in the world and it wouldn't count if your brother wasn't in the competition. Margot: How admirable. Thank you so much. Maurice: We won't forget this. Can we take you to lunch? Isabella: I would love that, but I actually have to get a dress for the Award Gala tonight, so... Margot: Of course. We'll hold a place for you. Isabella: Perfect. Margot: See you this evening. Maurice: Merci. Margot: Oh. Maurice: Maman. Margot: Oh. Jonathan: Oh, Jacques, so I understand your mother is retiring and so the future of Chateau Saint-Fournier hangs in the balance. Jacques: Well, that's one way to put it. Jonathan: Your brother is doing a lot of interviews, but I think that you might have the more interesting story. Jacques: Well, Jonathan, I think that the most interesting story here is not going to be about Chateau Saint-Fournier. Jonathan: Could you ela, elaborate? ♪ ♪ [glasses clink] Margot: I like Isabella. But the competition ends tonight and she's going back tomorrow. Jacques: There are events like this all over the world, even in Oregon. Margot: But you said you wanted to settle down. How do you do that with a woman you only see a few times a year? ♪ ♪ Maurice: Try this vintage '96. Jean Marc sent it over. Margot: Ah. ♪ ♪ [sighing] Jacques: You look amazing. Isabella: Thanks, you're not so bad yourself. Jacques: That dress is... Isabella: It's gorgeous, right? I actually borrowed it from Lacey. I just figured when in Rome. Jacques: But we're in Paris. Isabella: Yeah, no, it's a, it's an expression. It means... It doesn't matter what it means. Maurice: Bonsoir, Isabella. Isabella: Bonsoir. Margot: Tres magnifique. Isabella: Oh, thank you. [sighing] [applause] Philippe: Welcome to the final night of Le Grand Prix des Vins du Monde. [applause] The judges have spoken and tough decisions were made. The first category is Pinot Noir. Christina: Good luck to everyone. Isabella: Thank you. Philippe: We had some classic favorites and some surprising newcomers. And the bronze goes to Golden Sky, California, winemakers Seth and Diana Ridgeworth. [applause] Congratulations, guys. Diana: Merci. [applause] Isabella: Well there's only two medals left and only three of us at the table. One of us is going to lose. Jacques: C'est la vie. [applause] Philippe: And next the silver medal. And the silver medal goes to Ricci Ridge Winery Oregon, winemaker Isabella Ricci. Margot: Congratulations. Jacques: It's amazing. [laughs] [applause] I'm so happy for you. [laughs] Margot: Congratulations. [applause] Phillippe: Congratulations, Mademoiselle Ricci. Isabella: Thank you so much. [applause] [applause] Wow, silver, I... Jacques: It's wonderful. Philippe: And now to announce the winner of the Pinot Noir category and this was very difficult for us. And the winner of the gold medal is... Chateau Saint-Fournier reserve winemaker Jacques Fournier. [applause] Jacques: S'il vous plait. [applause] Maurice: Congratulations, Jacques. Jacques: Thank you, brother. Maurice: Come here. [applause] Go. [applause] [applause] Jacques: I know we don't usually make speeches, so please forgive me. But I want to say this is for my brother Maurice and my mother Margot. You pushed me, you push all of us to be better winemakers, so thank you and I love you both. You know this wine would not even be here tonight if it was not for Ms. Isabella Ricci. So, Isabella, merci beaucoup, I want to share this moment with you. [applause] ♪ ♪ ♪ ♪ Isabella: Wow, it really is beautiful. It's no wonder they call Paris the city of lights. Jacques: It's the city of light, actually, no 's'. And it's not because of the buildings, you know, it's because Paris was the birthplace of the Age of Enlightenment. So it's the city of inspiration. Isabella: You know you really are the best tour guide in Paris. Jacques: I wish I could be more than that. Isabella: I wish you could too. Jacques: Then stay. Just another week, we could explore Paris together, we could visit the wineries of the Loire Valley. Isabella: I can't, I have to go back and deal with my real life. Jacques: Your real life can wait a few days, no? Isabella: I can't. Jacques: Life is short, Isabella. Sometimes it's hard, but also it's beautiful. And you and I... Isabella: How would we make it work, Jacques? We're half a world apart. Jacques: Don't be so practical. [laughs] We can make this work, Isabella. I know it. [cell phone ringing] [laughs] Tell me you're not going to answer that right now. Isabella: It's my Uncle Travis, look I'll just be a minute. Jacques: No, no, I understand. Travis: Congratulations, silver first time out, huh? Not too shabby. Isabella: Well I wouldn't even be in this competition if it weren't for you, Uncle Travis. Travis: Well, Isabella, I told you, you had something special. Isabella: Oh Jacques won gold. Travis: I wish he hadn't. Not after he trash talked you in that interview. Isabella: What interview? Travis: I have it here. It says, "When asked about what Fournier thought about the other finalists he laughed and said he wasn't worried about some table wine from Oregon taking the prize." Isabella: That doesn't sound like something Jacques would say. Travis: Well I'm looking at his I.D. badge right here on the photo, it says Jacques Fournier. Isabella: Wow. Travis: Now look I, I have your flight details and I'll be there tomorrow to pick you up, okay? Isabella: Okay, thanks. Jacques: Hello. I know of this great after hours jazz club. Isabella: You know what? I have an early flight, I should turn in. Jacques: What? But it's not even midnight. Isabella: I need to go. Jacques: Is everything okay, did something happen? Isabella: Congratulations on beating my table wine. Jacques: What are you talking about? Isabella: Were you just pretending to like my wine? Jacques: No, no, of course not. Isabella: You know I thought you were different, Jacques, I, I trusted you. Jacques: I don't understand where this is coming from, wait, wait. Isabella... Isabella: Goodbye, Jacques. ♪ ♪ Margot: Jacques, we've got a lot of wonderful press in the wine trades from winning the gold. But one of the reporters mixed you up with Maurice. Jacques: Oh really? Margot: Yeah, I sent you a link. They should know you and Maurice better than that. Jacques: Maurice? Maurice: Oui? Jacques: Why did you call Isabella's Pinot a table wine in this interview? Maurice: I was just making a joke. Jacques: No, you don't understand. She thinks that I said this. This is why she's not speaking with me. Maurice: That was before we got to know her. Margot: For heaven sake, Maurice you're wearing his I.D. badge. That's why you could never find it. Maurice: Let me see that. Jacques: I have to tell her. Maurice: Oh. Jacques, I am so sorry. Isabella: Hi, this is Isabella. Please leave a message and I'll get right back to you. Jacques: Her machine. ♪ ♪ Travis: So we need all the merlots inventoried by this Friday, okay? Okay. Travis: Thank you, thank you. Hey, Belle. Isabella: Hi. Travis: Hi. Isabella: Hi. Travis: You okay? Isabella: Yeah, I'm fine, what's up? Travis: You left your phone in the office. Isabella: Oh. Travis: I haven't seen you anywhere without your phone. Like anywhere. Isabella: Yeah well just needed to take a break a little bit, you know? Think about some things. Travis: It's been ringing off the hook. Isabella: Well then I'm glad I left it. Travis: Aren't you supposed to be lining up meetings with U.S. distributors? Isabella: I don't want to seem desperate, you know? So I decided that I would just wait for a week, see what kind of offers come in, you know? Call them back. Travis: Playing hard to get, I like it. Maybe you should enter wine competitions more often, right? Isabella: Yeah, maybe I will. Travis: Your friend Jacques called, a bunch of times actually. Maybe you should call him back, give him a chance to explain. Isabella: It's just, it's too late. Travis: Are you sure about that, Belle? I know it ended badly, but from what you said, it sounds like you and Jacques were really good together. Isabella: We were. ♪ ♪ ♪ ♪ Travis: There's someone here to see you. Anton: Isabella, hi. Isabella: Anton, hi, what a nice surprise. Please, have a seat. Anton: I was visiting one of my other clients nearby and I thought I would drop in. Congratulations, silver medal. Amazing. Isabella: Thank you. Anton: It must have been tough leaving Paris. Isabella: You have no idea. Anton: I see you must have been productive. Jonathan Ronen gave you quite a nice write up on your Heritage Reserve. Isabella: Wait, what? Jonathan Ronen wrote about my wine? Anton: He loved your wine. And having Jacques Fournier say it was the best Pinot he's tasted in five years, well I've had people calling me all week asking how to get it. Isabella: Jacques Fournier said my Pinot was the best he'd had in over five years? Anton: He was very generous. Travis: Well speaking of generous, we've been talking with a few U.S. distributors. Isabella: Yes, we have. Anton: Who? They can't poach you, this is my territory. Isabella: No, well I don't want any names, Anton, and you were friends with dad. And you did give me the idea of entering Le Grand Prix des Vins du Monde. Anton: That's right. Travis: Even though you said we didn't have a chance of getting in. Anton: Right, yes, I just didn't want you to get your hopes too high. Isabella: Well then if you can match what the other distributors are offering. Anton: Done. Isabella: And maybe increase it. Anton: I'll bat any offer you get by five percent. Travis: Sounds good, right? Isabella: Hold on. Just curious, Anton, how much are you willing to spend on advertising? Anton: That's an excellent question. I've got some great ideas on how to market the Ricci Ridge brand. Isabella: How much? [laughs] Anton: I'll send over the numbers in the morning. Isabella: Sounds good. Thank you. Anton: But you'll have to tell me how you landed that Jonathan Ronen article. He only talks to the major players. Isabella: Well, we are major players, Anton. Travis: That's right, major players. Anton: I'm starting to realize that. [laughs] Travis: Yes! Isabella: Shh. ♪ ♪ Margot: Jacques. Maurice: Ah, there you are. Are you ready for Maman's retirement party? Jacques: Yes. I'm not really in a festive mood, but of course. Margot: You miss her. Jacques: I haven't spoken to Isabella since she left Paris. She won't return my calls. I've stopped trying. Margot: You know I've always said not to get involved with someone who lives halfway across the world. But sometimes when you meet someone as special as Isabella, you can't let anything stand in your way. Maurice: She's right. Margot: I won this at the charity auction and I think you should try it. Jacques: I know this wine. Why do you think I should try it? Margot: Because they took a risk. Maurice: Some people are meant to carry on tradition. Margot: And some people are meant to take a new path. Oui. Jacques: Merci. Travis: Isabella. Isabella: Hi. Got the paperwork in from Anton, you ready to sign? Travis: Oh definitely, but could you help me for a second in the barrel room? One of the humidity controllers is broken. Isabella: Sure. Travis: Thanks. Isabella: You know ever since I won the wine competition it's like you think I can do anything and I have no idea how you expect me to help. I'm not a mechanic. Travis: Come on, it will take a second, I promise. Isabella: I mean I'll do what I can, but it's, I'm not sure... Jacques. ♪ ♪ Jacques: You haven't returned my calls in weeks. Isabella: So you just flew halfway around the world? Jacques: The magazine mixed up me and Maurice, you know I would never say anything like that. Isabella: I know. I actually ended up reading an article where you said my Pinot Noir was the best you'd had in over five years. Jacques: But still you didn't call me back? Isabella: Because you live in France. And I live here in Oregon, and I have no idea how we could possibly make this work. Jacques: I came here to give you a gift. Isabella: I know this wine. Jacques: This wine is all about taking risks. You see decades ago no one took California wines seriously. But then Baron Philippe de Rothchild collaborated with a new California winemaker and together they created a masterpiece. Isabella: And it ended up being one of the most successful wineries in the whole world. Jacques: Because it's the best of both worlds. The old and the new. Isabella: So, what are you saying, that you think we should make a new wine, you and me? Jacques: That's exactly what I'm saying. Isabella: Jacques, how can you leave your winery for that long? Jacques: I can be away as long as I like. I gave control to Maurice of Chateau Saint-Fournier. Isabella: You just gave it away? Jacques: Well sold it, he bought my share. Isabella: So, just to clarify, why would you sell your half of the winery? Jacques: Think about what we could do together, Isabella. A new partnership, gn and Oregon, working together. Isabella: To create a new Pino. Jacques: Create a new life together. What do you think? Isabella: I think your brother better watch out because we're going to win gold next year. Jacques: Maybe we should toast to this new partnership? Isabella: I have a better idea. ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪	{"type": "movie", "show": "Paris, Wine and Romance (2019)", "episode": ""}	foreverdreaming
There are perverts everywhere nowadays. Hello? Come on Nami. You're my best friend. Do my shift tomorrow, please? l've got a date. What job is it? Can just anyone do it instead of you? Yeah. As long it's a woman. lt's very easy. You just have to stand there doing nothing. What are you doing? Please stop it. There must have been a misunderstanding. l only came here to take over for one night. Will you just stop that? Please stop it. No. Won't someone stop him!? No! Stop it! Stop it! Stop it! No! Stop it! Hey, stop looking so serious. Let me go. Mr Muraki? Ah. Hello. Don't you know you shouldn't put plastic rubbish out until tomorrow? Sorry. Oh dear, look at her. Isn't she looking beautiful? You must be popular amongst the boys. Hi, Chie. Are you alright? - Alright? - Yeah, fine. Are you going somewhere nice again? - We're getting obsessed. - Really? , When he first came here he had a smile. Just like a shining apple. Now he's worn out because he can't sleep. 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What kind of question is that? l've had a lot of perverted telephone calls lately. lt's very eerie. Yeah? Ah! How does a pervert who's obsessed with you feel? l can understand that to a degree. Then you're a slut! l haven't worked for Dark Publishing for a long time. But I'm going to do some work for them. Pleasurable work, remember? Do you wanna come with me? No, thank you! Everyone loves your nude pictures. They've received so many enquiries about you from other magazines. - Good morning. - Good morning. Have you seen your nude pictures in the magazine? l don't want to see them. l only want to get that film back. You're not the only one. A lot of girls storm into the office with pimps to get the films back, because they don't want their parents to find out about it. Why don't you do that too with your married boyfriend, Nami? Oops. Sorry! Sorry! Everyone knows about it. Be a bit more clever next time. Did you know the magazine you're has become a best seller and has sold out? You're kidding me? l heard that you're never at home. That ugly looking editor, Sumi, said he'd wanted to contact you. lt seems he called you a couple of times. Hitomi, did you give my number to him? lt's not a big deal, is it? Where are you meeting them tonight? The usual place. l don't like it there. That place is becoming too famous. The weekly magazine wrote about that place as a Mecca of prn. And there're so many perverts hanging around there. Hey, do you wanna go then? l won't get there on time. l have to do some shopping first. Someone stole underwear from your home, too? Yes, can you believe it? About 20 cases are reported to the police every month! Isn't it scary? They say this kind of thing aggravates things and leads to sexual crimes like rpe. Yes, it might even lead to a mrder case. Yes, this afternoon there was a documentary on TV about it. Really? Good afternoon. Isn't he creepy? What does he get up to? Whatever he gets up to, it can't be anything good. He's always hanging around here at this time of the day. Do you think he's the one who steals the underwear? lt's very possible. Look at his face. He looks very dubious. - Can you keep an eye on him? - OK. I'm close by at the moment. A driving license? l don't have one. l understand. A man nods busily and wipes off his sweat. When he first came here. He'd never worked before and still had a smile just like a shining apple. He no longer has that smile and he's worn out because he can't sleep. By the end of this month, from the time he came here. An ear of rice could have grown to his chest. Above the top button of his shirt... Aren't you the model in this magazine? Please sign your autograph. Ah, l can't. Excuse me. Please excuse us. RED prn Are you really sure about it? Don't you know you could make one or two million yen easily with this job. Nami's not after money. - She did it because she trusted me. - So you say. Your image is very appealing. And you have such a nice body, too. Nowadays there is not much excitement in this industry. lt's so boring. Did you give my number to anyone? Why? l've been getting a lot of perverted telephone calls lately. Is there a pervert stalking you? Such a lonely world, isn't it? Everyone wants someone to talk to. That sad looking guy outside as well. He looks like a guy who's henpecked at home. Are you sympathizing with a pervert!? No, but l read these stories in the magazines so often nowadays, how some women have been asault or had their underwear stolen. Do you have a persecution complex? You might be the type. l think l'll be going now. OK, l understand. Why don't you take that magazine with you as a memento? Ladies and gentlemen, this train is leaving, please mind the doors, Nami Tsuchiya. Please come out. l just want to talk to you. Who are you? Say something. l saw you in front of the cafe. Why did you follow me? l sympathize with you, and l don't know why I'm doing this. When l saw you there, l just lost control. Who are you?! l saw the magazine. I'm really not that kind of person! Just five minutes. Let me talk to you? l can understand why you are worried because perverts might call you or write you letters, but I'm not like that. So warm. Just leave me alone. I'm not that kind of woman. I'm not a prn model and never have been. I'm not like that. I'm not that kind of woman. I'm not! Excuse me? l have to lock the toilets shortly. What do you think you are doing in my room? I'm a manager of this apartment. l can come in. Can you please leave now? There's been a lot of female underwear stolen from around here lately. And? And what's more, the daughter of Mr Yamashita who lives across the road, says you often peek into her room. Have you got any evidence? l have a proper girlfriend. Why would l be interested in that school girl? Look at that. You've made a stain on the wall. Are you cleaning the room properly? That was there when l moved in. Leave that magazine here. Hello? Ah, it's you. Were you expecting someone more exciting? Where have you been until this late hour? The store will be closed tomorrow. Do you want to meet me in the afternoon? l've something l need to talk to you about. It's very important. OK, have you bought that stuff l asked you to buy? What's that? That stuff. Ah, condoms? Yes, l bought them. Hey, what are you going to tell me tomorrow? Oh, my wife is coming. See you. Your bath's ready. Don't you have to get up early for a game of golf with your clients? Early bed? Yes. Have you become one of those old men who read these kind of magazines? You must be kidding. One of my colleagues at work loves this kind of stuff and he gave me this one saying it was the best. prn in Japan is totally tasteless, isn't it? She's very pretty. Doesn't she look just like those girls who work in your department store? We haven't taken a bath together for so long. Why don't we do that tonight? Are you going to wash me, then? That girl in the magazine. That pretty girl. l've seen her. Where? At your company. Isn't she a sales assistant? So you think one of my staff members has become a prn model? Never. She's not my kind. Are you going home? Yeah. Are you scared of your wife? All wives are scary. So are you going to put some mud on your golf clubs? Oh! You've become an expert. Have you done this with anyone else before? So what did you want to talk to me about? Someone left this on my desk. The model is you, isn't it? Luckily he left it on my desk. But what if someone left it on a managers' desk instead? A friend of mine tricked me into this. l don't care who tricked you. What I'm asking you is, what should l do? What should you do? Should l show it to the manager or keep it secret? Are you thrat me? No, l don't mean it like that. l thought perhaps it would be better if l started seeing you at your home instead. Is this a thrat? lt's been quite costly. What with the money l've been giving to you as well. Isn't that natural because we love each other? Why don't you show it to the manager or whoever you want? Come on, Nami. What's wrong? No! OK. l understand. What happens is nothing to do with me! Nothing whatsoever. Who could do this? Is she a prn model? That can't be allowed. I'm wondering what l should do as her supervisor. There's no need for you to take responsibility in this case. She's just a slut. Yes. lt can't be tolerated. Trust is very important in this industry. Lay her off. Of course. She looked nice, though. Come with me. No. You're working at the department store? Have you been following me? What's wrong? Has something happened to you? Stop talking as if you're a friend. Take this umbrella. You should go home now. l just wanted to apologize for having followed you like this. l didn't intend to do anything like that. Leave me alone. l've had just about enough of it. Please be quiet. Someone will hear us. That's all l've got to say to you! Stop it! I'm sick of it. You're the one who keeps following me and makes perverted calls, aren't you? That's not me. l never do things like that! How can you do things like that? And you sent that prn magazine to my company, didn't you!? lt wasn't me. l didn't do it. l wouldn't give this to anyone. Why do you have it!? Nami. No! Stop it! lf l knew your telephone number, l would call you all day. And if l'd known where you live, l would've written you a love letter everyday. What do you want from me? - The girl in that magazine isn't who l am! - That's not the you l fell in love with. Why don't you tear that magazine up then? Red prn You're hopeless. Why can't you behave normally? Why do you have to torment me? If you get what you want, will you go away? This isn't what l want. This isn't what l hoped would happen. Will you go out with me tomorrow? From the department store? l'll be in front of the store at 7. l'll wait for you! l wasn't going to go back to the department store. Yes! Oi! What are you doing!? She's dad! That's him. That must be him. lt's revenge because she told everyone about him peeping into her room. Who? Who the hell is he!? He's not here. He must've run away. Where the hell is he!? Please don't be silly. What do you think you're doing with that gn? Get your hands off! Stop it! Stop it! There he is. That's him. That's the guy! Tomorrow night at seven. Just one more time. I'm used to being disappointed. Tomorrow night at seven... l want to see her. l want to meet her. l heard that you'd finished. l was fired. You're joking?! I'm gonna have to be careful too. You will be OK. Hitomi. What are you going to do then? I'm going to have a break for a while then start from the beginning again. Waiting for a date? Yeah. Oops. l see. Take care. Let's go shopping sometime. Let me use your staff discount card. Bingo! l was too harsh on him last night, l was going to give him my magazine to make up for it, but I guess that's it, Producer: Yoshihiro Yuki (NCP) Plan: Naoya Narita Original Story and Screenplay: Takashi Ishii Recording: Osamu Onodera Graphic Design: Yoshie Kikukawa Editing: Akimasa Kawashima Music: Hachiro Kai Assistant Director: Takashi Kodama Image Development: Toyo Kenkyujo Production Manager: Akio Hattori Cast: Jun Izumi, Yoko Kurita Yuri Yamashina, Miiko Sawaki Kyoko Ito, Osamu Tsuruoka, Masahiko Abe, Noboru Mitani Noriyuki Kitami, Masakazu Minato, Toshikatsu Matsuo, Akio Matsui Tatsuya Hamaguchi, Michiko Aso Noriko Tasu, Etusko Seki Director: Toshiharu Ikeda THE END	{"type": "movie", "show": "Angel Guts: Red p*rn (1981)", "episode": ""}	foreverdreaming
("Rock Star" playing) Moana: ♫ (lyrics) I dream of being a big rock star, ♫ with my fancy clothes and my red guitar Eva: ♫ I dream of my brand new car ♫ that can take me far from here Eva and Moana: ♫ Mmmh, and it's not hard ♫ When it's in your heart ♫ From the very start, chase your dreams ♫ I want to do ♫ Whatever it takes, whatever it takes to make it ♫ I wanna show whoever I can, ^♫ however I can, I'll be a big rock star ^Eva: ♫ I dream of being a big rock star ^♫ With my fancy clothes and my red guitar ^Moana: ♫ I dream of my brand new car ^♫ That will take me far from here Eva and Moana: ♫ Mmmh and it's not hard, ♫ When it's in your heart, ♫ From the very start, chase your dreams (audience booing) ♫ I want to do ♫ Whatever I can, whatever it takes to make it. ♫ I want to show ♫ Whoever I can, however I can I'll be a big rock star ♫ (loud booing) Moana: You always get us into these situations! Eva: Oh yeah it's always my fault? Moana: You wanted to come work. Eva: Yeah I wanted to work. (high pitched scream) Let's get out of here! (riot booing) (heavy metal music) Strip Club Hustler: Want to see the show? Five dollars! Want to see the show? Want to see the show? Come guys let's do it! Five dollars! (intense music) (sirens howling) (high-tech music) Matt: How was it? Don't worry, it often feels like that the first time. Come and have something to eat, and you'll feel better. Trust me, have something to eat and you'll feel better. Not long now before the Pluto Probe arrives. Moana: What happened to the riot? Matt: There was no riot. You just had your first dream. It's all in your head. (chair scraping the floor) Star: How was it last night? Eva: It was good. Star: Tell us about it. Eva: I was the lead dancer at an Australian dance company. I was fantastic and I got a standing ovation. Star: And was there any after show flirtation? Anything you would like to share? Eva: How was your night? Star: My night was great! I played the shy virgin and was well and truly ravaged. What is this? Brunette member: It's for rituals. Star: Rituals? What sort? Short haired member: Fertility rites. Star: Archaeological information suggests that it took three successive races three hundred years to build Stonehenge. Now the construction work probably took the same amount of social resources in the years that it was build, as it has taken to build the Pluto Probe today. Eva: Angel just left a message; she wants to see us straight away. You better get your things. Moana: Which one's mine? Moana: Hey! I didn't go for the virtual group stuff. Eva: You pssy! Moana: fck you! Eva: You'd be lucky! Moana: We were doing a street show outside the opera house. There was a civil wr, or a riot or something. Eva: That's normal. I had the audience attck me with knives. Moana: Your biggest fear, the audience. (amused laugh) Moana: How is it affecting us to have these experiences? Eva: It's all about letting go of who we are, so we can grow into someone new. Moana: Letting go of who we are. Eva: It's just like watching TV. Moana: It feels so real. Besides, I choose what I watch on television. Eva: You get to choose what you dream later on. It gets better. Moana: It would have to. Why did she put you on the spot like that at breakfast? Eva: [the-laine] is that you have to share your virtual experiences so you recognize them for the illusions they are. Moana: And your take on it is? You don't usually [stick-the-lai]. What's your take on it? Eva: I like it when you get fiesty. (pop music playing) Moana: You ready? You are. Eva: I just need to do my salute. Moana: You've already done this while warm-up. Eva: You know how important this is to me. You stop. Moana: Hey guys we are here just rehearsing for the big press conference. Thought we would give you online viewers a bit of a behind-the-scenes preview. ("I Know Who I Am" playing) Eva and Moana: ♫ I'm just a girl who finally understands Moana: ♫ That's who I am Eva: ♫ That's who I am, I know who I am Moana: ♫ This life is changing on us everyday Eva and Moana:♫ Sometimes we all get lost upon our way ♫ Back home, everybody understands ♫ Just who I am, they know who I am, ♫ They know who I am Eva: ♫ Now I know, now I know ♫ Just who I am ♫ Now I know, now I know ♫ Just who I am Moana: ♫ That's who I am. Eva and Moana: ♫ I know who I am ♫ Angel: I'd like to welcome you to the launch of the Butterfly Crush entry into the Australiasian song awards. You should all have a folder with bio, lyrics and a DVD. Interviewer: You've made much of your sexual relationship in the past. We don't hear about that recently. Is it still vital in your music? Eva: We're giving one another some, freedom, within the relationship. Interviewer: But there are rumors of a romantic split? Moana: I hope our music transcends our personal relationship. Interviewer: Isn't it true that you are now involved with that virtual sex group in King's Cross? Eva: You ask that as if it was something weird. We have virtual technology around us every day. In our games, our schools and libraries. Interviewer: But not virtual sex? Eva: Ever watched an adult movie? It's just a matter of where you draw the limits. And we like to push the limits a little. Moana: Look, we sing and we do it very well. And that's what's important. That's what people want to know. Not some emotional grubbing around. I mean, sure, sexuality is an important part of our work but, that's just because it is an important part of everyone's life. Moana: You just provoke them. Eva: The ask for it. Besides, it's good PR. Angel: This is the recording contract for the awards, outlining the promotional requirements on the winners. You each need to sign one. Moana: I don't think we are ready for this. Eva: Typical. Eva: I need to take this home and read it before I can sign it. Moana: But Eva, this is everything you've dreamed of! Eva: Yeah, that's why I want to be sure. Angel: Just remember the Dallen had a gig tomorrow. You need to be there early for sound checks. Eva: Hey, come along tonight. It's better than anything! Angel: Is it the dream group that she is talking about? Moana: She's been spending all of her time there. Angel: You have to let her go. Find someone new. (dance music) Star: Good evening. Now, the Pluto encounter, which we will all be witnessing in the next couple of days, is going to be the first chance that we are going to have to see our solar system's binary planet close up. Now Charon, which was originally thought to be a moon of Pluto, actually turned out to be nearly the same size. Brunette group member: But what about God? (ridiculing laughter) Star: Do I come over to your place and disturb your evening? Star: Do I come over to your place and disturb your evening? Star: The crazy one can go. I understand this kiwi in shining armor is the other half of the performing duo that you've been telling us so much about. Well, I can only hope that you will honor us all this evening with a small performance, as you are both here. Eva: Shall we do "Break Your Fall"? ("Break Your Fall" playing) Moana: ♫ (lyrics) Don't be afraid of the mess you make ♫ Make a mess, make amends, ♫ Make your enemies your friends ♫ Don't be afraid of the devil saying, "Dare you" Eva: ♫ Won't be scared there's nothing there Eva and Moana: ♫ When you feel alive ♫ Alive enough to feel. ♫ Are you willing to try ♫ Crash dive into something real ♫ Not too hard and then too fast, ♫ We're in charge, take a chance ♫ Dirty up your pretty head ♫ Do all the things you thought you'd never do ♫ Go in deep, (mumbling) ♫ (mumbling) ♫ (applause) Star: I can only offer free drinks to both of you in gratitude. (dance music) Matt: Hey, you looked fantastic tonight! Moana: Thanks. Matt: Do you do that in all your videos? Moana: Yes. Matt: Well, maybe you should come by then and show me sometime? Moana: Sure. Matt: It's all about the contact, you've got to change that. Most of them are just desperate for some personal contact, so if you show them some, you're (mumbling). Matt: Hi Moana, good to see you! Dark haired client: Yes good, very good! Moana: If you're busy I can come back. Matt: No, it's OK. Moana: You wanted to see our videos? Matt: You just want to give us a call later and we will continue this when we're alone. Dark haired client: Sure Matt: Come take a seat, Moana. Moana: So, have you had much contact with Eva while she has been here? Matt: Sure. Moana: How is she doing? Matt: She is great. Moana: You know, what's the gos? (laughs) Matt: I'm not good with gos. Moana: Guys. (quiet laughter) Matt: So you're going to show me your stuff? Moana: Mhm, yeah, sure. Matt: I'll just watch this another day. So... (Butterfly Crush playing) Matt: Looks like you two are an item? Moana: We were. Matt: Were? Moana: Yeah. Matt: So are you bisexual? Moana: Why? Matt: Oh, just wondering. Moana: Just wondering if I'm interested in a normal relationship? Matt: No, we have open relationships here. Moana: Open relationships? So you all fck whenever. (laughs) Matt: Well, not all at once. Moana: Really? Matt: It's like a special thing. Moana: Take, take, five, one, two, three. My name is Moana and I am from Butterfly Crush. Is that OK? Angel: Yep, great, we are done. Eva: Are you sure you have done OK? Moana: Well, no thanks to you. Eva: Well let's do it again now. You know I don't feel comfortable unless I've completely checked the (mumbling). Moana: Well maybe you should arrive on time. Angel: Sorry, we can't do it again. I've got two more mics to check. Moana: Did you sleep over at the Dreamguides again? Eva: Yeah. Moana: Another sleep with benefits? Was it a boy or a girl? Eva: Girl. Moana: What is this Eva? What is happening with you? Eva: I'm going to be in the Charon group. Moana: What? Eva: I'm going to join the Dreamguides. Moana: And you're going to live there? So, like you said, we'll be giving one another a bit of freedom. Eva: Well, we are. I mean, I think we should keep saying that, for the media. Moana: Don't you think you should take your time with this? Eva: Let me make my own decisions. Moana: Will this change how we work? Eva: Don't see why it should. Eva: Will you come with me tonight? I need a partner to give me away at the ceremony. Moana: Too bitter, huh? Eva: Well, it would be best if you would join the group too. Why not, it would be perfect. I mean, then we could be together and have the freedom. Have I ever lead you into trouble? Moana: Uhm, all the time! (quiet laughing) (sensual music) Matt: Thanks for waiting! Aw. Moana: So, what's the story with this initiation? Matt: What story? Moana: Why am I here? Matt: Didn't Eva tell you? Well, you should really talk to her about it then. Moana: What do you mean? Well it's... a unique situation. OK, I'm not too sure what the deal is. Moana: That doesn't sound very convincing. Matt: Hey wait, what are you... (playful screams) Star: I'm really pleased that you are both here. OK. Let's loosen up a bit, shall we? Close your eyes. And turn to the person next to you. Now I want you to explore your partners face with your fingers, so that you can remember them. (nervous giggling) Now, keeping your eyes closed, turn from your partner and move around the room. (light music) Now, find your partner again. And no peeking! Eva: Just sign there. If you dare. Star: Close your eyes. Now, I'm going to blow on you, and it is going to feel like a wind blwing you. That you can't resist. (soft blow) (loud applause) (mild applause) Angel: I had this checked by a couple of experts. It's pretty deadly. You are going to have to tread carefully. Moana: Why is it deadly? Angel: It's a management agreement. Moana: What do you mean? Angel: You have signed the management of Butterfly Crush over to the Dreamguides. Moana: No. Angel: Did you read it? Moana: No, I didn't. I couldn't. Angel: Why not? You've been spending a lot of time there lately? Moana: I'm just trying to help Eva. And you're not being very supportive. Angel: Did you ask anything? Or did you just sign it? Moana: Of course I did! I asked for more information. Angel: And? Moana: They started playing these games with me. I think by the end of it I was in a bit of a trance. What else makes it deadly? Angel: It ties up the management so you have no control over your work. You don't benefit from it financially. Moana: Oh. Angel: If it wasn't entered into freely, a good lawyer can probably get you out of it. I'll have it checked. Moana: So what's our strategy? Angel: You mentioned something about some sessions with Eva. Something called feedback sessions? Moana: It's more like counseling. There is one tomorrow. Angel: I think you should go. If you feel up to it. Moana: Don't worry. We'll get her back. Eva: I've got a (mumbling) to do in this life, and I'm going to honor that. That is what brought me here and learning and growing from it. My music is getting stronger for it. Star: Would you like to share some of that music? Eva: Yeah, sure Eva: ♫ (lyrics) And the truth is, ♫ Our mistakes do not define us ♫ Truth is shame doesn't have to bind us ♫ Truth is our life will always find us ♫ Dare us to come alive ♫ Oh, dare us to come alive ♫ Star: Wow. So, what can we say to Eva? Red head: She was fantastic. That's wonderful having a newcomer express herself so honestly. Brunette: I'm totally in love with Eva. She is so fresh and articulate. You can see she has experience on the stage. Star: So she brings out your bisexual side? Brunette: Absolutely. Star: You truly are an emerging talent. And we are going to make sure that you go far. So what's the story with this singing partner of yours? Eva: We are giving each other a bit of space. Star: Have you talked with her about joining at all? Eva: Yes. Star: Uninterested? Eva: She'll take a bit of persuading. Star: Well lets see how we do in the feedback session tomorrow. Otherwise we may have to be quite firm with her. Purely to free you of the emotional burden so that you can focus on your work. Matt: I'm coming to the show tonight. Can we meet up afterwards? Moana: Here in the real world? Come and buy me a drink. You don't want to? Matt: It's just that I don't have any money. And Eva said she was going to let me in but she is not here yet. I just wanted to talk with you before we started. (soft guitar music) Moana: Are you under instruction to be here? Matt: I am to keep an eye on you. Because you are important to Eva. Which is fortunate seeing as I really like you. Moana: And yet you betrayed me. You avoided telling me what was really going on. Matt: I told you. And I didn't think it really mattered. Look, Moana. Anything I do with you, I do with your best interest at heart. Moana: Have you been together with Eva? Matt: There's a quarantine period of six weeks before any new members can have sexual relations, so. We have to be real careful if someone catches it. Otherwise it spreads through the whole group. (cell phone rings) Moana: I have to go to work. I can get you in if you want? Come on. Hey, how come you don't have any cash? Matt: Normally I don't need to. We have communifiers at the group. And I don't get pocket money for this sort of thing. Moana: Lets say you want to go to a film, or to the theater? Matt: I never need to. There is always something happening back home. (dance music) Moana: He's with me. Eva: Hi. Moana: Are you OK? Eva: Great! How long until we're on? Moana: Well you're late, and we are on now. Eva: What are you waiting for? Moana: You. Eva: For me? Moana: Eva, I'm really worried. Eva: There is no need to be worried. Moana: You are changing in ways I don't even think you realize. Eva: How? Moana: You're volatile and blwing up at me for the slightest things. Eva: I'm always like that. Moana: You're not committed to our work. You are missing sound checks. Eva: I'm here when it matters. ("Come Alive" playing) Moana: ♫ Face over heels, you fell into disaster ♫ Ever since then, you're only running faster ♫ Everyone knows you'll never outrun yourself ♫ Eva: Still everyone tries in one way or another, ♫ Because we forgot some tracks we'd like to cover ♫ I wonder if it's time we all face the truth Moana and Eva:♫ And the truth is, ♫ Our mistakes do not define us ♫ Truth is, shame doesn't have to bind us ♫ Truth is, our life will always find us ♫ Dare us to come alive ♫ Oh, dare us to come alive ♫ What if we trusted all that we believe in ♫ What if we moved from fear and into freedom ♫ What if in freedom we could forgive ourselves ♫ And the truth is our mistakes do not define us ♫ Truth is shame doesn't have to bind us ♫ Truth is our lives will always find us ♫ Dare us to come alive ♫ Oh, dare us to come alive ♫ Oh yeah, and the truth is, ♫ Our mistakes do not define us ♫ Truth is shame doesn't have to bind us ♫ Truth is that life will always find us ♫ Dare us to come alive ♫ Oh, dare us to come alive ♫ Dare us to come alive ♫ (cheering and applause) (door squeaking) Star: Glad you could make it. Welcome Moana. What you need to learn to do is to compromise in your relationships. And understand that these desires are being controlled from your subconscious. These sessions will really help you learn that. Eva: Could we look at our relationship? Star: Of course. If we can key in Moana's birth data we can look at the relationships between both of your planets. Eva: What's the matter? Scared it might work? Star: Is that phone recording? Moana: What are you doing? Star: Thank you. Spy speaks too. You'll get it back. As soon as you have cooperated with our feedback session. Are you going to give us your birth details? (quiet laughter) Moana: I was born in Oakland. April fifth, 1988. Star: OK. Lets look at Mars and Venus. Matt: Sure. Your Mars is together with Moana's Venus. Do you find Eva to be the personification of physical, sexual beauty? But you sense this availablity and move to take advantage of that. Eva: That doesn't sound very romantic. Moana: You're not. Star: The problem that occurs with this placement is that sometimes the sexual arousal can be too pervasive and disorientating to be kept in perspective. When you add all of the creative work that you both do together, there would be a lot of riving and anticipation that wouldn't always find a comfortable avenue of expression. Moana: We've been slowly sorting that out. Star: Have you? I wouldn't be so certain. Because I'm not sure you would be here if you had. Lets look at the Plutos. Matt: Sure. Star: Now, Pluto doesn't move very fast and you are both at similar age, so your Plutos are very close together. Now, we saw that your Pluto is opposite your Venus? Which means that your Pluto is also opposite Eva's Venus, and her sun. Moana: And? Star: It means that you have a very volatile relationship. I feel that from these aspects, Eva can perceive you as a thrat to her basic identity. Someone who wishes to control her. Moana: Why? I've never done anything. Eva: It's not what you do. Star: And that's exactly how you are going to feel. But what is most disturbing about this Pluto aspect is that you are obsessively drawn to Eva. And there is a primal anxiety in that obsession. Eva: So true. Obsessive and primal. Moana: Don't you see what is happening here? How she is manipulating you? Look lady, I'm not playing your little charade any longer so you can manipulate me with your psychological games. Eva: Well if you don't want to be here, then you better go. Star: Unfortunately I really don't think Moana is ever going to have the commitment required to benefit from our work. In fact, since we now don't want you here, I'm going to ask you to leave. Moana: Well can I have my phone? Star: No. I'm going to keep it for a little while, because I would like to see what you've actually got on here. Moana: But it's my phone. What if someone rings? Star: Matt, could you please show her out? And make sure she leaves. Matt: Hey are you OK? Moana: Of course not. Matt: Can I help? Moana: Not now, you could have back in there. Matt: No that's where you're wrong. There's nothing I could do. (fast-paced footsteps) (upbeat music) Moana: Glad you could make it. We worked hard to get here. And you have to keep your end up. No matter what wanky self mutilation you happen to be getting off on. I had to say it. Eva: Well I won't do them. Angel: You're part of this group too. I expect you to pull your weight just like the rest of us. I see what's happening here. I'm glad I can finally see it. Eva: I've got more important things to do with my time. Angel: More important than your career? Eva: More important than PR chores. Angel: I know they want to take over the management. Do you know that is what you agreed to? Eva: Star has mentioned it. How do you know? Moana: It was in the contract we signed the other day. I took a copy. Eva: You took a copy? Moana: I wanted to know what I was signing. Eva: I'm sure the management can be improved. Angel: How? Eva: Well we are always doing small gigs and look at all this extra PR shit I have to do. Angel: You barely keep it together as it is, and that's only because I make sure you do. What about the contract for the awards? Have you read it and signed it? Eva: I've given it to Star to submit. Angel: I don't need this shit. Eva: Neither do I. Moana: Guys! We've got a gig to do. (mellow music) Moana: ♫ We are changing wind ♫ From the outside in ♫ Underneath my skin, ♫ It's blwing my mind. Moana and Eva: ♫ (mumbling) ♫ But there was so much missed ♫ (mumbling) Moana and Eva: ♫ I've opened my eyes ♫ I'm a wide eyed girl with nothing to fear ♫ Under the weight of the world, ♫ That is waiting for me ♫ To let go of the past, I'm breaking free ♫ And out of the pack ♫ I'm becoming me ♫ (mumbling) ♫ I'll just hear the wind ♫ (mumbling) ♫ Into the sky ♫ I'm a wide eyed girl ♫ with nothing to fear ♫ Under the weight of the world ♫ That is waiting for me (static microphone) ♫ I'm breaking free Moana:♫ And out of the pack ♫ I'm becoming me ♫ With nothing to fear ♫ Under the weight of the world, ♫ That is waiting for me ♫ To let go of the past, ♫ I'm breaking free ♫ And out of the pack ♫ I'm becoming me. (applause) (mumbling) And we'll be back soon! Eva: I won't stand for sabotage. Moana: It's your own fault. You should have been there for the sound check. Eva: That's the problem. You bury yourself in this PR bullshit rather than challenge yourself to really be successful. Moana: This is our work. Not your personal therapy session. Eva: That's it! Moana: I've been working alone without her. What is to come? Angel: Come what of? Strange? Moana: It is strange. (bevarage pouring) What are we going to do? Angel: We thrat the group with legal action. We pressure them to support her work with us. Moana: I just wonder if we are loosing sight of Eva through all of this. She has made her decision, maybe we should respect that. Angel: Did she make if of her own free will? I'll have the lawyer draw up the letters. Do you think you could arrange to get it to the group? Moana: Hi, can I get a Malibu and pineapple? Bartender: Sure. (soft music) Matt: Moana, I'm sorry about Eva and the shows. I've tried talking to her, but she has made up her mind. Moana: I'm sure this will help. Matt: And I'm sorry about the feedback session, with not supporting you. But you made the choice impossible. Moana: I make the choice impossible? Matt: Yeah, you were all hung up. Moana: She hung me up! She made the choice impossible. Matt: OK. Moana: Are you going to take a seat? Thanks. Matt: Maybe? Moana: So do you try and seduce all the [unintelligible] Matt: Yes, it is standard practice. But I honestly like you. Matt: Is that what I'm doing? Seducing you? Moana: You're not doing a very good job. Matt: Well I'm sorry. If you apologize one more time, I'm likely to throw this drink in your face. Matt: Moana, we can't have a relationship we're not initiating in a group. I like you a lot, but we can't kiss or make love, so lets not get too horny OK? Moana: What? Matt: It's health reasons. Moana: What reasons? Matt: I told you there is a quarantine period before anyone can join. Moana: Why have you been coming on to me if you can't have a relationship? Matt: We can. But not while you're not initiated. Moana: You can't have relationships outside the group? Matt: There is another way. Moana: What is it? Matt: We could partner one another in a love dream. Moana: How does it work? Matt: Well we imprint on one another's terminals, which enables a virtual image to be created. Moana: Do we do it together or separately? Matt: Seperately. Technically it is possible to participate in the same dream. But Star forbid it. Moana: Stop sucking whipped cream. Come dance! (high tech music) Moana: Is it too late come now? Matt: It's a perfect time. (sensual jazz) Moana: How does it work? Matt: We both touch a screen to signal our consent. Eva: What are you doing here? Moana: I stayed over. Eva: Dreaming? Good idea, that's the spirit. Moana: I want my phone. Eva: Haven't you got it? Moana: I can't believe you are wimping out on our music after all our work. Eva: I'm not wimping out. I'm just not prepared to bury myself in this shit. Moana: Angel's gotten us where we are. Eva: Yeah by doing the shit gigs. Moana: She's gotten us into the awards. And now you are messing it all up. Eva: I want to do the awards. I just want to win them. Moana: We all want to win them. Eva: Do you? Moana: Yes. That's why I'm here trying to rescue you from your delusions. Eva: How far are you prepared to go? We're going to fight it. Eva: Don't be stupid, that's our future. We've got to take this to the next level. Moana: And how many successful bands has she managed? Brunette: Two announcements to make this morning everyone. Firstly, it's nearly time for our check up period again. So when you register to get your STI check, please remember to register from a different address so they don't know we all live together. The second announcement this morning is that the probe is on track to fly past Pluto, 9 PM Sidney time. We are going to celebrate here at eight. Eva: You should come along tonight. I'm doing some performing. Moana: Already feels like I live here. Star: Good morning everybody. I have some news of my own to share this morning. We had a new sex-swap paring last night. Apparently our trusted Matt has ht on one of the newcomers. Would you like to share that with us, please? Matt: I always fin these situations a little bit embarrassing. But the fact of the matter is that Moana and I have a particular relationship that I value very much. Of course I have asked her to join the group, but, in the meantime, we consumated our bond last night in virtual space. And, for my part, it was very good. Moana: Do they monitor the dreams? Eva: I've been wondering that myself. Star: Apparently Matt's partner is the gallant other half of the famous Butterfly Crush. And she is with us again this morning. Tell us Moana, how did you find our young stallion? Moana: I would prefer him in flesh and blood. Without the etiquette of your particular mating system. Star: Perhaps young Matt didn't satisfy you at all and you just don't want to admit it to him? Moana: I just find it hard to talk about intimate sexual experiences in front of masses of people. Star: That is a very personal and appropriate comment. It is hard for us to share our intimate details with other people. But that is also why it is so important, for us to do so. A big hand for Moana. (loud applause) In fact, for playing along so well, I would like to offer you a free processing session. Eva: That's a one on one with Star. I dare you to. Star: Oh, hi Moana. Moana: Hi. Star: Come and sit down. I'm glad you've come. Moana: Can I have my phone? Star: Yes, you can have your phone. But I just wanted to have a chat with you about your work. Tell me about it. Moana: We are competing in the song awards this weekend. We probably won't win, but if we can keep it together for the next few days and we get a placing... Star: If you can keep it together? Moana: We have promotional commitments to be eligeble. And since Eva has been here, she stopped doing them. We have a talk show gig this afternoon, for example. I was wondering if you could get her to come along? Star: Doesn't she want to go? Moana: She hasn't been very cooperative lately. I just thought you might be able to persuade her. Star: I couldn't do that. Moana: Why not? Star: Well, I can't be seen to manipulate members. It would be down on me like a ton of bricks if I did that. Moana: All I'm asking is for you to support her work. Star: I can't be seen to be pushing one way or another. Moana: But it must be good to have members who are also high profile members of the community? Star: Mmm, it depends. Sometimes too much attention isn't a good thing. A member might be too fresh for such an ambassadorial role. Moana: Can I just have my phone? Star: Of course. And I'm sorry about that. I just had to see what you had on it. Moana: Thanks. Moana: So you got the letter from our lawyer about conning us into signing that management contract? Star: Ah, yes, and I wanted to speak to you about that. I just really, really want to help you guys get ahead. There isn't anything underhand about it at all. Moana: Yet nobody talked to me about changing management and all that hokus pokus. Star: Didn't Eva discuss it with you? Oh I'm sorry. Moana: You want all of our money! Star: Money? It just weighs us down. One of the great things about living here, is that all your financial details are taken care of. And you can focus on all the important things, like our own personal development. What is this fixation with material success? Moana: I don't know. Star: Perhaps you are not letting things take their natural course. Moana: I left home when I was 18. And I lived on the streets for two years doing street theater. Star: Why? Moana: Because my dad died and my mother went crazy. (sighs and sobbing) Star: Close your eyes for me. Imagine your father was here in the room, right now with you, in front of you. What would you say to him? Moana: I miss you dad. And I love you. Even though you made it so hard to do that. Star: Tell him why he made it hard for you. Moana: You made it hard the time I caught you spying on me in the shower. That time you took a pass at me when mom was away. I'm sorry I told her but, you know, you can't live a lie. Star: Tell him what you think of him for doing that to you. Tell the bastard what you think of such despicable behavior. Moana: You are a bastard and I hate you! For abusing my faith in you. Just lucky I had the sense to run away. Star: You did well. Star: These things take a lot of time to resolve. You understand that, don't you? Now don't think anymore. Just let your mind go blank. (upbeat music) Bag lady: Give me the can? Can, give me the can. Homeless woman: Spare some change for the homeless? (techno music) Large guard: It's a (mumbling) tonight. (mumbling) Moana: Will this do? Large guard: It's perfect. There you go. Matt: I have to rig the equipment before the flypass. I've only got a few minutes. Eva: Thanks for coming. Moana: Well I feel vulnerable, but I'm here for you. We have come to take you back to the real world. Eva: Real world? The real world is the delusion. Get over it. Moana: The real world is the delusion? Do your hear yourself? Eva: Look Moana, your real world is what is dragging us both down. Let it go. Moana: I told you, you were changing. Eva: Either commit to it or fck off. Moana: You know what? That's it. You want to know how far I'm prepared to go? You just found out. Star: What exactly is going on here? Matt: Nothing. Moana and Eva just had a fight. Star: Yes, Eva just told me. Matt: So now I'm just... Star: What? Matt: Comforting her. Star: Why? She is a spy. Matt: She is just a little... Star: I don't want her here. Is that phone recording? Do you see what I mean? Moana: Of course, you couldn't be seen to be taking sides. Star: No, but is was Matt that was taking sides this time, wasn't it Matt? Matt: Sorry. Star: We've still got that bed wetting response at some level, haven't we? Stick around. You will see what's possible if you dare to become what you can. Then, I don't want you back here. Ever. (sassy music) Eva: ♫ So, this didn't go well ♫ I fail, oh well, gotta push of the dirt ♫ And put on a new skirt ♫ Shake it off, break it down, ♫ Spread some lovin' all around ♫ Chase the rush, sh*t the breeze ♫ Fill the bowl with their money ♫ I wanna fall and I wanna fall far ♫ Moana: I don't feel good. Eva: ♫ Fly like an eagle, roar like a lion ♫ Never giver up, ♫ Moana: I have to go. ♫ Never stop trying ♫ Matt: Are you sure you can't wait a little bit longer? Eva: ♫ Every prom queen's dream ♫ Moana: I'll wait outside. Eva: ♫ Every rock star is fading, ♫ Got to find a new theme ♫ Everybody gets down, stop your crying right now ♫ Hold on to the one you love ♫ And scream ♫ (soft piano music) Moana: Thanks for coming with me tonight. You could come stay the night, then go home in the morning. Matt: You know I can't. Moana: Just for an hour. No one would know. Matt: I would know. Besides, there are too many suitors already. Moana: Are you sure? Matt: It's better this way. See you soon. (phone rings) Angel: Where were you after the talk show gig? Moana: Eva says she wants to stop doing Butterfly Crush. Angel: Stop doing Butterfly Crush? Moana: They sucked her right in. Made her believe that she doesn't need us anymore. Angel: Well we need her! I mean, we need her for the song awards tomorrow. Moana: Star is pulling the strings. I think it's time we called her bluff. We've got nothing to lose now. Angel: Alright. I'll get onto it. (soft guitar music) Blond Journalist: In a sensational development here at the courthouse, the management of one of tomorrow's contestants in the Australasian Song Awards, Butterfly Crush, has just filed a civil suit. Claiming entrapment and psychological manipulation of one of it members, by the cult known as the "Dreamguides", which is based in King's Cross. The Dreamguides are reportedly a cult, engaged in group sex, emotional manipulation, and brainwashing of it's members, under the guise of therapy. (gentle jazz) Moana: We had to do it. Eva: Well it worked. Eva: So what do you have to tell me here that you couldn't tell me there yesterday? Angel: Your application for the awards wasn't submitted. Eva: fck you. Angel: I checked. It was due in yesterday. Eva: Well there must be some mistake. Moana: Eva, you're being conned. Eva: fck you too. Moana: Well not anymore. Angel: I've already submitted the application for Butterfly Crush. I can take the individual forms in today. I can take yours too. Moana: We can still win this. Eva: At last. I've been waiting for you to say that for so long. (soft knock) Matt: It's my insurance policy. And it may prove useful for your future negotiations over Eva. Moana: Insurance policy? Matt: I know how they work. And I have a lot of files on them that could do them harm. Moana: What is it? Matt: It's an investment file about which the tax department knows nothing. Moana: There is a lot of money here. Why do you need an insurance policy? Matt: I'm moving out. (sensual jazz) Matt: I wanted to do it this afternoon. But I couldn't find the opportunity. Moana: How come we've never talked about this before? Matt: It's... Sort of complicated. Moana: Well, tell me now. Matt: It's just hard, like, if we could do a dream together, then I could show you. Moana: Is that highly forbidden? Matt: Well yeah, but no one would know. Moana: Why is it forbidden? Matt: They say it can encourage deep bonds between the participants. Moana: That's just what we need. (quiet laughter) (high tech music) Moana: I don't know if this is such a good idea. Matt: Don't worry. We are in and out. Everything OK? This is the white session. Just think about this room if you have any questions about what's happening while we're dreaming. Moana: Is this a real room? It's programmed to resemble on of our rooms so that we feel comfortable here. OK, here we go. Star: Good evening. The Pluto encounter, which we will all be witnessing in the next couple of days, is going to be the first chance that we are going to have to see our solar system's binary planet close up. Brunette group member: But what about God? (ridiculing laughter) Star: Do I come over to your place and disturb your evening? Matt: Eva's friend played right into your hand tonight. Star: Well I always think it's good to demonstrate a clear authority. Brunette: That crazy woman has been here three times now. Star: But I have a feeling she won't be returning. (approving laughter) Matt: Well I'm glad. Matt: She is simply demonstarting that she is stronger than you. That whatever individual freedom you have, it's only at her discretion. Moana: I see. Matt: Do you want to go on? Moana: I want to know why you are moving out. Matt: Eva's friend had right into your hands tonight. Star: Well I always think it's good to demonstrate a clear authority. Brunette: That crazy woman has been here three times now. Star: I know, and that's why I'm so hard on her. But I do have a feeling that she won't be returning. Matt: Well I'm glad. Star: Moving on. We really need to break Eva's bond with this person. Or bring her into the group. Now you appear to be making some progress with her Matt? Matt: Oh well, she is becoming hot for me. Star: Well just so long as you don't become hot for her. Star: We also need to be aware that Eva has a tendency to form these types of friendships. We can see from her chart with her soft underbelly. So we need to really make sure that she bonds with us, and not outsiders. Matt: Is there any Pluto activity coming up? Star: There is. So I thought if we hold an intensive feedback session in about a month, we should be able to establish some new patterns that make it healthier for her to stay in the group. Moana: fck! Matt: Just relax, you are disrupting the virtual construct. Would I be telling you this if it wasn't true? Moana: Maybe it's worth simulating on. Star: That girl Eva had her first feedback session today. We really need to watch the contact she has with the other member of the duo. The one that wants to champion the weak. I have been encouraging Eva to go solo with her career. And it is likely that she will be a good earner. As you know we are in bad need of resources for our country retreat in the Indian Mountains. Red headed member: She sounds very attracted to that friend. Star: Yes but we did have a breakthrough in our feedback. We noticed there were some Pluto activity in her chart, so we chose to confront the issue. And you can see how it went today. Eva: If you don't want to be here then you better go. (applause) Star: I am very disappointed in you. Very, very disappointed. Matt: That's OK. I got very disappointed in you a long time ago. Star: The newcomer can go. And I want him in my office in five minutes. Moana: You don't have to stay. We are going together. Matt: It's OK. Remember I've got my insurance policy. (intense music) (hard knock) (heavy sigh) This is a file of investment data controlled by the Dreamguide's leader. Matt swears that she will do anything to stop this from being revealed. Angel: Tell me what happened. How could you be so stupid? I've got little green men chasing me with gn. I don't need you hassling me right now. I just keep thinking of Matt trapped in there. And Eva. Angel: This is hot. All we need to do is thrat to send this to the media and give them a deadline. Circular Quay, in an hour. I need you to do something for me, if you are up for it. I've arranged for you to meet your boyfriend. Get a written commitment from them. Moana: Did they hurt you? Matt: This is just from the sun. Moana: Are they here to stop you from running away? Matt: They have me grounded. Moana: Huh? Matt: Confined to my room. No outside contact. Moana: But you are here. Matt: Well you pressured them to bend the rules a bit. Moana: [unintelligible] run away, they wouldn't catch us. Matt: Too risky. I'll plan on making it to the awards tonight. Moana: How is Eva? She OK? Matt: More than OK. She has been honored by the group for participating in the awards. Moana: I want you to come along. Matt: Maybe I can. If you request it. Star: Good luck, newcomer. Moana: Why are you so happy? Eva: Well we are here, aren't we? This is everything that I wanted. Moana: Don't you see what's happening? Don't you see how you are being manipulated by them? Eva: Yeah I do see it. But I figure as long as I am enjoying myself. Moana: While they are sabotaging your career. Eva: It's all a misunderstanding. She simply forgot to submit it. Moana: I think you should check with Matt. He's been locked in his room since yesterday. Eva: I haven't seen him around. Moana: They caught us doing a dream together and Matt was just showing me how it really works. An alarm went of and they arrived with gn. They are after your money and she has been trying to separate us so you can have this solo career. It's been her deliberate strategy. Eva: She has been pushing this solo idea. (amused laughter) Moana: AS if. Eva: I could do it! Star: I hear you can't get enough of one another anymore. (cheering drowns out Star) Eva: It's always been about the music. We wouldn't be here otherwise. Star: Sure. ("I Know Who I Am" playing) Eva: ♫ This song, ♫ Asleep in my heart ♫ Has finally been woke up, I'm back at the start. Moana: ♫ These words, ♫ Are truly my own ♫ Now they can be spoken, ♫ Now that I'm home Eva and Moana: ♫ Because I ♫ Know what it is to be lost, now I ♫ Know what it is to be found, yeah ♫ Though everything that I've sought is all around. ♫ This life is changing on us everyday ♫ Sometimes we all get lost upon our way ♫ Back home, everybody understands ♫ Just who I am, they know who I am, ♫ They know who I am ♫ I'm back to feeling what I used to feel ♫ My past has shown me what is true and real ♫ I'm just a girl who finally understands Moana: ♫ That's who I am Eva: ♫ That's who I am Moana and Eva: ♫ I know who I am ♫ I know who I am Moana:♫ Sometimes ♫ You have to go back ♫ In order to go forward ♫ On the right path Eva: ♫ These eyes ♫ Are open so wide ♫ Now I'm looking onward, to the rest of my life Eva and Moana: ♫ Because I ♫ Know what it is to be lost, now I ♫ know what it is to be found, yeah ♫ Though everything that I've sought is all around ♫ This life is changing on us everyday ♫ Sometimes we all get lost upon our way ♫ Back home, everybody understands ♫ Just who I am, they know who I am ♫ They know who I am. ♫ I'm back to feeling what I used to feel. ♫ My past has shown me what is true and real. ♫ I'm just a girl who finally understands Moana: ♫ That's who I am. Eva: ♫ That's who I am. Eva and Moana: ♫ I know who I am ♫ This life is changing on us every day ♫ Sometimes we all get lost upon our way ♫ Back home, everybody understands ♫ Just who I am, they know who I am, ♫ They know who I am ♫ I'm back to feeling what I used to feel ♫ My past has shown me what is true and real ♫ I'm just a girl who finally understands Moana: ♫ That's who I am Eva: ♫ That's who I am ♫ I know who I am Moana: ♫ This life is changing on us everyday. Eva and Moana: ♫ Sometimes we all ♫ Get lost upon our way ♫ Back home, everybody understands ♫ Just who I am, they know who I am, ♫ They know who I am. Eva: ♫ Now I know, now I know ♫ Just who I am ♫ Now I know, now I know ♫ Just who I am Eva and Moana: ♫ That's who I am ♫ I know who I am ♫ (wild applause) Matt: Take him back to the dressing room. He's with us. Moana: We did it! Matt: You did great! Matt: I'm moving out. Eva: Moving out? Matt: Look, it's all bullshit games. She deliberately didn't send in your registration. She doesn't want you to get too succesfull until you are sab in the group. So she thought next year would be fine. Eva: Bitch! Moana: Hey guys, so this is what it is like waiting back stage for the winner to be announced. And you're catching it live tonight. Announcer: And the winner is Butterfly Crush! (excited screaming) (wild applause) (excited whistle) (enthusiastic clapping) (champagne popping) (pop music) Moana: To Butterfly Crush. Eva, Matt and Angel: To Butterfly Crush. (pop music)	{"type": "movie", "show": "Butterfly Crush (2010)", "episode": ""}	foreverdreaming
Original Air Date: 23/09/2003 Scene opens to a sht of Air Force One preparing for take-off. The President - who both looks and sounds a lot like George W. Bush -- waves as he enters the plane. The flight crew stands at attention the moment he's on board. PRESIDENT: Bobby, did those babybacks from PapaJoe's make the flight? BOBBY: Yes, sir, Mr. President. They were flown in from San Antonio ten minutes ago, sir. PRESIDENT: Good. Let's have an early lunch. BOBBY: Yes, sir, Mr. President. The President turns away, putting an arm around the shoulders of the man, presumably Secret Service, behind him. Kate Todd precedes them. PRESIDENT (to man): I love the babybacks from PapaJoe's. MAN: I know, Mr. President. PRESIDENT (to Kate): Wasn't Major Kerry supposed to be handling the Football on this one? KATE: He came down with the flu, Mr. President. The man raises his arm to indicate the new Football carrier. MAN: This is Commander Ray Trapp, Mr. President. He's new on the detail. Cmdr. Trapp, dressed in Navy whites, stands at attention before the President. PRESIDENT: Have we met before, Commander? TRAPP: (shakes hands with the President) Yes, sir. On the Abraham Lincoln, Mr. President. PRESIDENT: (smirks) Ah, the Lincoln. (turns to Secret Service man) You know, the trip to the Lincoln was the best day I've had on this job. (turns back to Cmdr. Trapp and waggles a finger at him) Why don't you join me for lunch? TRAPP: Be my pleasure, Mr. President. PRESIDENT: Good, I'll look forward to it. The President and the Secret Service man walk away. Kate lingers to speak with Cmdr. Trapp, who finally relaxes once the President is out of sight. KATE: Lunch with the boss on your first day. You're destined for stars on those shoulders, Commander. Kate leaves, going a different direction than the President did. Cmdr. Trapp sits down, looks off where the President disappeared to, and smiles. Then he reaches over to the side of his chair where a large black briefcase is unobtrusively tucked away and puts his hand on top of it. Air Force One takes off. A flight attendant carries a tray of food down an aisle and sets it down on a table between two people. The crewman from before, Bobby, walks past her to speak with the Secret Service agents. BOBBY: Agent Baer, Agent Todd, would either of you like anything to eat? BAER: (doesn't even bother looking up) No, thank you. KATE: (smiles politely) I'm fine, thanks. BOBBY: Very well. Bobby leaves. Baer gets up. BAER: I'll be in the Comm. getting an update from Bowman. Keep an eye on things down here. KATE: You expecting a problem, sir? BAER: (turns back to face her) Expect problems, Agent Todd. And with a little luck, you'll never loose the President. Baer jogs up a flight of stairs to the next deck. Kate looks down and smiles ruefully. Moments later, Cmdr. Trapp enters the room with the Football in hand. He moves slowly, almost shuffling. He stumbles, dropping the briefcase. Kate looks at him in concern. Cmdr. Trapp stares at his hand, flexing his fingers. He turns and flashes a grin at Kate. TRAPP: I fumbled in my first Army-Navy game, but (picks up briefcase) I recovered the ball. Cmdr. Trapp carefully places the Football beside a chair while Kate looks on, then turns to offer her his hand. TRAPP: Ray Trapp. KATE: (shakes hands) Kate Todd. TRAPP: (face flushed red, sweating) Eating with the President was... (swallows) a bigger sweat than... (starts wandering in circles) making a ni-night [trap??]. Cmdr. Trapp collapses into his seat. KATE: (concerned) Are you ill, Commander? Cmdr. Trapp starts going into convulsions, falling to the floor. Kate gets up to help him, issuing orders through her wrist comm. KATE (via comm.): Slammer Rose for a medical emergency, section one. While Kate tries to sab Cmdr. Trapp's head, Agent Baer rushes back down the stairs. BAER: What's wrong? KATE: I don't know. Three medics come running down the aisle. Kate stands back to give them room. DOCTOR: What've you got? FEMALE MEDIC: He's not breathing. DOCTOR: No pulse. FEMALE MEDIC: Give me the bag. The doctor gets up to grab the medical bag, when Kate suddenly realises something. KATE: Doctor! He just had lunch with the President. DOCTOR: Oh my god! BAER: Let's go. (to Kate) You stay with the Football. As the doctor and Agent Baer run off to check on the President, Kate reaches over and takes the briefcase back over to her seat out of the way. The other two medics are still working on Cmdr. Trapp. One medic is straddling his body doing CPR, the other rhythmically squeezing an air bag over his mouth. FEMALE MEDIC: Halt compressions, let's check his pulse. The female medic removes the air bag to check his pulse. Kate looks on worriedly, and when we look back at Cmdr. Trapp we see he's started foaming at the mouth. FEMALE MEDIC: There's no pulse. Let's get his shirt off. She starts cutting his shirt off with scissors. Kate watches anxiously. INTRO CREDITS Gibbs is working on his boat in his basement, diligently planing the wood smooth. The television is playing quietly in the background when the phone rings. He walks around the skeleton frame of his boat to the phone mounted on the side wall and answers it. GIBBS: Yeah. Gibbs. It's Tony on the other end, calling from the NCIS office headquarters. He appears to be the only one currently at work. TONY (to Gibbs, over the phone): A Navy commander carrying the Football on Air Force One just carked in the air. GIBBS: (checks his watch) Where'd they land? TONY: Wichita, Kansas. (types at his computer) The President's transferring to the backup bird. (reading from computer screen) I booked us on a 15: 00 United flight out of Reagan, stops in Dallas before going on to Wichita. GIBBS: That the best you can do? TONY: It's Saturday, Gibbs. (puts on coat) You know, if we had our own jet... GIBBS: We don't. Ducky's buds with coroners across the country. See if you can't get one of them to hold the body until we can get there. TONY: Alright. Gibbs hangs up. As he goes to leave the basement, he passes the television and we see it's currently showing a news report. NEWS ANCHOR (on TV): I'm Doris McMillon, with a CBS news update. We have just learned that Air Force One has made an unscheduled stop at Wichita's mid-continent airport. Details are sketchy- Gibbs flicks the power off once he gets upstairs, and the TV goes black instantly. cut to Airport Gibbs and Tony are just coming off an escalator behind a couple of flight attendants. Tony is weighed down with several bags, Gibbs just has one small bag and his ever-present cup of coffee. TONY: FBI, CIA, DEA, AF, even NYPD have private jets. GIBBS: At 36 cents a mile. You wanna drive? TONY: It's humiliating. They arrive at a Security check-point. Tony puts his bags down on the ground, Gibbs lays his single one on the conveyor belt. GIBBS (to Security Guard): We're LEOs. SECURITY GUARD: (smiling) Capricorn. TONY: LEO, short for Law Enforcement Officer. Tony hands the Security Guard the paperwork for their wapon, while Gibbs shows him his badge. GIBBS: You new at this, (leans over to read Security Guard's nametag) Dennis? DENNIS: (nods) First week. (Gibbs chuffs a laugh while Dennis checks out the badge) N.C.I.S.... never heard of it. GIBBS (leaning over to speak quietly to Tony): That's embarrassing. DENNIS: NCIS? Anything like "CSI"? TONY: (sarcastically) Only if you're dyslexic. DENNIS: Okay. You can go ahead and go around the, uh, metal detector, but your bags have got to go through the scanner. GIBBS: Wait a minute, you're letting us take wapon aboard but you want to scan our bags? DENNIS: Well, you've got permits for the wapon but you don't for the bags. Tony starts piling the bags onto the conveyor belt. TONY (to Gibbs): We really need our own jet. DUCKY (calls out from other side of security gate): Dennis! Those bags are mine. DENNIS: Ohh! (to Gibbs and Tony) Why didn't you tell me you were subbing for the Doc? (smiles) You've got a bag permit. DUCKY (to Gibbs and Tony): Move it, men. Tony and Gibbs exchange looks as they gather the bags to follow Ducky. Ducky turns and starts walking away. DUCKY: We don't want to miss our flight. (smirks) cut to Air Force One, night Air Force One is currently surrounded by emergency vehicles, lit up on the tarmac only by the various flashing lights of the vehicles. Inside is an assortment of official personnel, from Secret Service to FBI to State Troopers to Airport Security to the County Coroner's office. A Kansas local with a "CORONER" jacket on is stalling the proceedings. CORONER: If J. Edgar Hoover was alive, I'd tell him what I'm telling you. This body is in Wichita County, and as County Coroner I have jurisdiction. No one moves it until the M.E. says they can. FORNELL: Your jurisdiction doesn't supersede the FBI on Air Force One. KATE (interrupting from her seat, hidden behind everyone else): It's not Air Force One, Agent Fornell. (the men move to clear a path for her) When the President departed on the backup plane, it became Air Force One. This is now Alpha Foxtrot 2900. FORNELL: Don't get into this pissing contest, Agent Todd. As you pointed out, the President's gone - it's no longer a Secret Service problem. KATE: Look. This could be a natural death, or it could be a botched attempt to mrder the President. Until I know which, it's my problem. CORONER: Uh, I don't give a damn which one of you is boss. You ain't moving this body until the M.E. says you can. Ducky enters, followed by Tony and Gibbs. DUCKY: You talking about me, Elmo? ELMO: Ducky! How'd you like those steaks I air-expressed you? DUCKY: Ah, delicious! FORNELL (leaning over to speak quietly with Kate): He "air-expressed" him steaks? KATE: (shrugging) It's a big state. Look how long it took him to get here. ELMO: (points out the players) Uh, Agent Fornell here is FBI. Agent Todd, Secret Service. Ducky, they've been fighting over this body like two hounds over a t-bone. DUCKY: Well, it's our t-bone for the moment. GIBBS: All these LEOs are contaminating the potential crime scene. DUCKY: Oh yes, my assistant's right. Everyone who boarded in Wichita will have to evacuate the plane. FORNELL: I'm not going anywhere. KATE: I flew in on it. DUCKY: Very well, you two can stay. But everyone else must deplane. ELMO: Alright, you heard the M.E., let's move it boys. Ducky, what do you think? DUCKY (examining body): No outward sign of trauma. KATE: He was stricken after having lunch with the President. TONY: Yeah, how is the President? KATE: He's fine. His physician cleared him to fly on to L.A. GIBBS: What happened? Both Kate and Fornell look askance at Gibbs's softly-voiced question, but Gibbs just stares placidly at them. After a moment, Kate answers. KATE: When the Commander returned from lunch, he had an equilibrium problem and his grip was too weak to hold his briefcase. DUCKY: Did he gradually become ill, or was it sudden? KATE: Sudden. He started to convulse and collapsed. The President's physician believed that the Commander had a stroke. TONY (taking notes): Kinda young for a brain fart. DUCKY: Looks like a natural death to me, Elmo. They can leave with the body as long as they sign releases. FORNELL (to Elmo): Why the hell didn't you say that? ELMO: Couldn't. Like I said, it's the M.E.'s decision. Release forms are in my car. FORNELL (to Kate): Let's go. We can work out jurisdiction for Washington on the flight to Dallas. Kate glances at Gibbs before leaving. The look on her face is inscrutable. ELMO: Ah, Ducky... about those soft-shell crabs? Kate pauses behind Ducky and Elmo at this exchange, throwing another odd look Ducky's way. You can tell she's figuring out that things aren't exactly as they seem. She exits the plane behind Fornell. DUCKY: Ah, you'll have them by the weekend. ELMO: Ten-four, partner. (leaves) Once alone, Ducky sighs in relief and Gibbs takes over command of the crime scene. Quietly. GIBBS: Tony, go hot. Show the pilot your credentials, get us the hell out of here. Tony starts down an aisle, but Gibbs calls him back. GIBBS: Hey! (points upwards) Cockpit's on the top deck. TONY: (cluelessly) I knew that. Gibbs smirks as Tony climbs the stairs. GIBBS (crouching beside body): Enjoy playing my boss? DUCKY: (nods) I did, rather. GIBBS: What do you think happened, Duck? DUCKY: Good God, Gibbs, I barely met the deceased. GIBBS: I think DiNozzo's right. Naval aviator, stroking at his age? DUCKY: He could have been born with an aneurysm. They're bmb in the body. I remember this young promising basso-perfundo in London. He was only 27 when he keeled over, in the middle on an Notaro aria- Kate storms back onto the plane, her hand on her holstered wapon at her hip. KATE: Who the hell are you people? (to Gibbs) You're no M.E. assistant (to Ducky) and there's no soft-shell crab within a thousand miles. DUCKY (to Gibbs): Sorry. GIBBS (showing his badge): NCIS. We flew down here from Washington to take over the investigation. KATE (drops her hand from her wapon, exasperated): First the FBI tries to muscle in, and now NCIS. GIBBS: Yeah, well, I do believe this is a dad naval officer. KATE: Who died on Air Force One, after having lunch with the President it's my job to protect. GIBBS: Okay, we can share jurisdiction. You can be on my team. KATE: Your team? Why should you head the investigation? GIBBS: You ever worked a crime scene, Agent Todd? KATE: I am a Secret Service agent. GIBBS: (smirks) I thought not. KATE: Well don't dismiss me like that! Okay, I earned my jock-strap. GIBBS: Yeah, does it ever give you that empty feeling? KATE: What? GIBBS: Your jock-strap. KATE: No. Like some species of frogs, I grow what I need. (smiles brightly) Gibbs smirks back, obviously impressed and enjoying the exchange. Then Tony interrupts, scrambling down the stairs. DUCKY: Gibbs! Pilot won't take off until the Secret Service chick gives us the (sees Kate, pauses a bat) thumbs up. KATE: (smirks at Gibbs) I think that just made it my team. GIBBS: No. It means we'll just have to hijack Air Force One. Tony, escort Agent Todd off this aircraft and close the hatch. KATE (incredulous): You're not serious. Wait! (chases after Gibbs up the stairs) Okay, okay! Your team, but only because I don't want to delay us further by having to sh*t you. Kate offers her hand to seal the deal, and she and Gibbs shake on it. Outside the plane, Fornell is running up the steps to the hatch when Tony suddenly appears in front of him. FORNELL: Damnit, Agent Todd, let's get this show on the road! TONY: Oh gosh, I'm sorry. We, uh, overbooked the flight. (closes hatch) FORNELL: What the hell are you doing? As the plane starts to taxi away, Tony looks out a window and waves at the thwarted FBI agents. Fornell yells at the people on the ground. FORNELL: What's going on? Stop! Fornell and the two agents behind him run back down the now abandoned staircase to confront Elmo, the County Coroner guy. FORNELL: Alright, do you know what the hell's going on? ELMO: Guess Ducky decided to take the body to Washington. FORNELL: Why did your Medical Examiner take the body to Washington? ELMO: (slyly) I never said he was my Medical Examiner. Then the jets kick in to high gear, and everyone flinches from the blast of air. FORNELL: Then who the hell's Medical Examiner is he?! ELMO: Ducky? He works for NCIS. Fornell watches the plane take off. In the air, Gibbs is in the Comm. speaking with the NCIS Director, Tom Morrow, over videoconference. DIRECTOR (on comm.): Did you have to literally slam the door in the FBI's face? GIBBS: There were more of them than us. DIRECTOR (at MTAC): (wryly) There's always more of them than us. You ever hear of interagency cooperation? GIBBS: Yes, sir. I got the Secret Service Agent-in-Charge at Wichita to agree to share the investigation. DIRECTOR: (surprised) Willingly? GIBBS: (ruefully) Well, we could use a little backup when we land at Andrews. DIRECTOR: Eh, that's what I thought. We're spread a bit thin, we've got no agents. GIBBS: If the FBI gets this body, we won't see an autopsy report until after they leak it to the Washington Post. DIRECTOR: Then make sure they don't get it. (Gibbs nods) Will this Secret Service agent stand up to the FBI? GIBBS: I don't know. She's got balls. The Director laughs, then the scene changes back to the crime scene. Kate is sitting in a nearby chair watching Ducky insert a thermometer into the body's liver. KATE: (incredulously) Are you starting the autopsy? DUCKY: Goodness, no. I'm just taking his liver temperature to corroborate the time of death. KATE (consults her PDA): The President's physician declared him dad at 20: 32 Zulu. DUCKY: It never hurts to double check. (thermometer beeps) Tony steps up beside her, pen and paper in hand. TONY (to Kate): Excuse me, you'll need to stand clear so I can take measurements for my crime scene sketches, thanks. KATE: Sketches? You've taken a dozen photos. TONY (picks up a magazine, "Exotic Resorts", with a bikini-clad model on the cover): Tell me her measurements. KATE: Your pathetic. TONY: No, I'm serious. Can you tell if she's (looks at magazine) 5'4" in a 35-C, or 5'7" in a 36-D? You can't, not from a photo. That's why we do sketches, take measurements. (pushes her back out of the way) Thanks. DUCKY: I've got 19: 50 Zulu, that's nearly an hour earlier. KATE: Well, then you miscalculated. Gibbs comes jogging down the stairs. GIBBS: What's the problem? DUCKY: There's apparently a discrepancy between my time of death and the President's physician's. GIBBS: Log yours. (Ducky bends to do so) Enough sketches, Tony. Agent Todd's gonna give you a floor plan. KATE: Oh, no, she won't. Kate walks off to follow Gibbs. Ducky moves over to speak with Tony. DUCKY: I thought your photo analysis was brilliant, Tony. But wasn't 36-D a bit of wishful thinking? TONY (looking at magazine again): You think? Gibbs and Kate are meanwhile walking down an aisle, arguing. Well, Kate is. GIBBS: What can you tell me about Commander Trapp? KATE: I can't give him Air Force One floor plans, they're top secret. GIBBS: Come on, I saw this in a Harrison Ford movie. KATE: Well that's Hollywood speculation, you're asking for the real thing. GIBBS: Isn't the President's head down here someplace? KATE: No. GIBBS: Now this was in the movie! (looks around the conference room he just walked into, indicates the chair at the head of the table) Yeah! Harrison was sitting right here. KATE: I can't risk those plans getting out on the Internet. GIBBS: NCIS does not leak. These plans get out, you can sht DiNozzo. KATE: (unamused) No, I think I'm destined to sht you. GIBBS: What about Commander Trapp? KATE: Only met him this morning. He just received his Yankee White clearance and was Major Kerry's backup. The major has the flu. GIBBS (walking away, still exploring): We'll have to get a Navy doc to verify that. KATE: He's got it. (waves her hands in frustration) But go ahead, and waste a doctor's time double-checking like your... Ducky. Gibbs stops in front of cabinet, with a keypad lock on it. GIBBS: This is where the trrorists got their wapon in the movie. (starts playing with keypad) KATE: Oh, that is as ridiculous as the President's "escape capsule". GIBBS: Anybody switch planes with the President? KATE: The President was put on a separate plane. Everyone else boarded the backup excepts three stewards who were put in the Press cabin. GIBBS: What'd you keep them for? (opens curtains to Press cabin, waves at stewards) Make coffee? KATE: I may not know the finer points of investigating like sticking needles in liver or measuring swimsuit models, but I do know enough to hold the stewards who prepared and served the President's lunch. GIBBS: Hmm, okay. KATE: You want to question--? GIBBS: No, they're not going anywhere. We've got a crime scene to investigate. Rule number one, never let suspects stay together. KATE: Well I didn't consider them suspects. GIBBS: Why'd you hold them? (passes her some latex gloves) Put these on. KATE: My fingerprints are all over this aircraft. GIBBS: Rule number two, always wear gloves at a crime scene. By this point, Gibbs has managed to steer them back to the crime scene area. Ducky is kneeling beside the body when they approach. DUCKY: I believe I know why there's a discrepancy in the time of death. Now since the Commander had lunch with the President, I'm sure the President's physician rushed to evaluate his condition. He also called Trapp's time of death. KATE: Yes, once he was sure the President wasn't in medical danger, he returned and... (realising) He was gone nearly an hour. DUCKY: Yes. I'm sure the autopsy will show that Commander Trapp expired almost immediately. KATE: I owe you an apology, Doctor. DUCKY: Oh, please, it's Ducky to my associates. I'm just relieved we straightened it out. It's inconsistencies like this to lead to conspiracy theories. It reminds me of a case once in New Orleans. A jealous husband sht his wife off a Mardi Gras float, right out of the clock at the corner of Bourbon Street. GIBBS: Ah, doc, give it a rest. She's got work to do. Kate smiles at Ducky and gets up to follow Gibbs. DUCKY (to Kate, as she leaves): I'll tell you the rest later! GIBBS: Rule number three, don't believe what you're told. Double-check. KATE: Should I write these rules in my Palm Pilot, or crochet them on pillows? They walk into another room. Tony is seated behind the desk, twisting the phone around in his hands. A television is playing in the background. KATE (indicating Tony): Oh no, I draw the line at him sitting in the President's chair. TONY (to Gibbs): He's not using it. KATE: Gibbs! GIBBS (to Tony): If you're finished taking pictures, start bagging and tagging. TONY: Just waiting for you, boss. (gets up) KATE: Bagging and tagging what? GIBBS: Well, to start with (indicates lunch) ... everything. (points at chair Tony just left) President was sitting there? KATE: Pretty good bet, since it is his desk. Tony passes Gibbs an evidence bag. Gibbs starts instructing Kate on proper investigative technique. GIBBS: Okay, to maintain the chain of custody, take the item - in this case, Commander Trapp's lunch - place it in the evidence bag. (he does so, seals it, the folds it over to write on the label) Seal it, record all pertinent information, initial across the seal. Gibbs then passes the filled evidence bag to Tony with a "Keep it cold" order. Tony hands him a new evidence bag. Gibbs turns to Kate with it. GIBBS: Okay, why don't you try it? Kate gets queasy, throws a hand up over her mouth, and runs out of the room. Gibbs follows with the evidence bag. GIBBS: Oh, wait a minute! Hey, wait! Wait a minute! Whoa! Stop! (he corners her against the bathroom door, turns her around, and shoves the open evidence bag in her face) In here, in here... Kate vomits into the evidence bag. Gibbs seals and labels it. KATE: Can I rinse now that you've got your evidence? GIBBS: Yeah, sure. Kate gives him a disgruntled look, opens the door to the bathroom and disappears inside. Gibbs finishes labelling the evidence bag then hands it to Tony. GIBBS: Log it. Go find Ducky. TONY: You think she's got whatever klled the commander? Gibbs just shakes his head, having no answer. Tony leaves, Gibbs sits down and looks out a window at the clouds passing by. cut to Presidential rally ANNOUNCER: Please join me in welcoming President George W. Bush. (crowd cheers) AGENT BAER (in voice over): Don't thrat me, Tom. I'm not in your food chain. Fornell is on a smaller corporate plane, calling the Secret Service agent patrolling the Presidential rally. FORNELL: If NCIS does the autopsy, they'll control the investigation. You want that? BAER: Commander Trapp was a Naval officer, they have every right to do the autopsy. FORNELL: Damnit Bill, they're bush league. We have assets those cowboys can only salivate over. BAER: Don't underestimate NCIS. FORNELL: Oh they're good, at making drug busts and catching sailors who've jumped ship. But an attck on the President? BAER: The President's doctor thought that Commander Trapp had a stroke. FORNELL: Maybe he did, but if he was poisoned... You want to put the man's life in the hands of retread cops and ex-MPs? BAER: If you withhold so much as a comma out of the report... FORNELL: You'll get copies of everything before the ink dries. BAER: I'll order Agent Todd to turn the body over to the FBI at Andrews, but I can't control NCIS. FORNELL: With us joined at the hip, all they can do is watch. And bitch. (hangs up) We're back in the ballgame. cut back to Air Force One Ducky is examining Kate, who is lying stretched out on a couch. DUCKY: Low temperature. I think it's a stomach virus. KATE: I know it is. Did you use that thermometer on cadavers? DUCKY: (laughs) Would you rather I use the liver probe? GIBBS: Why you so sure it was the flu? KATE: (sighs) It's the same symptoms Major Kerry had. DUCKY: Did you work together recently? KATE: No. DUCKY: Well if you didn't work with him, then how...? Ah! KATE: Did you think I was a virgin? DUCKY: (embarrassed) I'd... hoped not. Ducky leaves and Kate chuckles. Gibbs just sits there watching her. She gets comfortable, staring back at him. KATE: You gonna lecture me about sleeping with people you work with? GIBBS: Nope. Kate nods slowly. Gibbs keeps looking at her. Before anyone can say anything else, someone calls for Agent Todd over the intercom system. COMM: Agent Todd, Agent Baer's on a secure line for you. Kate sighs and slowly, possibly painfully, sits up. GIBBS: You want me to take that call for you? KATE: I'd have to be dad. She leaves and Gibbs nods to himself, laughing. Meanwhile, Tony is sitting in an empty office using the desk to interview the flight crew. TONY: And how long have you been on Air Force One? CREWMAN: Five years, sir. Two with President Clinton, three with President Bush. Gibbs walks in and heads straight for the bathroom, pulling his zipper down on the way. Tony wraps the interview up. TONY: Alright. Well, thank you very much, Chief Steward. CREWMAN: Yes, sir. The steward leaves and Gibbs questions Tony from the bathroom. GIBBS: What'd you get? TONY: Ah, food security's very tight. Incognito purchases, randomly selected stores. No one knows their buying for Air Force One. While Tony is talking and Gibbs is peeing, Ducky enters the room. Tony motions for him to be quiet, pointing at the bathroom, and grabs a camera. Ducky quickly snaps a picture of Tony sitting behind the desk, then they switch places so Tony can do the same for Ducky. Tony is giving Gibbs a verbal report the whole time. Once done, they both retake their places and act as if nothing at all happened. TONY: Stewards usually prepare all the food, but today the President had ribs and coleslaw flown in from a smokehouse in San Antonio. So they only reheated them and served them. GIBBS: Anybody else have ribs? TONY: No. DUCKY: Gibbs, if the ribs were poisoned, then how come the President wasn't affected. GIBBS: Maybe he's used to PapaJoe's barbecue. (flushes) If you two are through taking pictures of each other, maybe we can move that body out. Gibbs leaves and Tony and Ducky look at each other, caught. cut to Comm.* Kate talking with her boss on the phone in the Comm. The Secret Service is preparing a motorcade for the President. KATE (on phone): I made a deal with NCIS to share the investigation, sir. BAER: You're not senior enough to make deals, Agent Todd. We're working this with the FBI. KATE: Sir, these NCIS agents are not just going to turn the body and the evidence over to the FBI. BAER (to driver): Let's go. (to Kate) NCIS had no right to use a local coroner to delay your departure. KATE: You have to see it from there side. BAER: Agent Todd, shut up and listen. I'm giving you a direct order. That's our aircraft, everything living and dad on board is under Secret Service control. Turn the body over to the FBI at Andrews, or the only presidential detail you'll get will be walking Spotty. Agent Baer hangs up on her. She forcefully puts the phone down, releasing a huff of frustration. The motorcade pulls away. Kate walks back downstairs to the crime scene, but the only one there is Gibbs. Not even the corpse. KATE: Where's the body? GIBBS: (innocently) I don't know. They both laugh, knowing he's lying through his teeth. KATE: (smirks) You move it to the off-ramp for a fast getaway? Gibbs just grins and drinks his coffee. Kate puts on her coat and takes her own seat as the plane is coming in for a landing. KATE: It won't work, Gibbs. I've been ordered to turn the body over to the FBI at Andrews. GIBBS: You could stall them until we get off. KATE: No, I can't. I won't defy a direct order. I'm sorry, Gibbs. GIBBS: Never say you're sorry. (laughingly) Ah, you don't have to crochet that one. Kate smiles, but is obviously not happy with the situation. Then the Captain's voice comes over the comm. CAPTAIN: Folks, please fasten your seatbelts, we're beginning our descent into Andrews at this time. Gibbs and Kate both buckle up and the plane lands. cut to highway, black FBI SUV driving down the road* FBI AGENT/DRIVER: Why'd you let NCIS have the evidence they bagged on the plane? FORNELL: Since we have the body we control the investigation. If a few ribs and coleslaw saves some face, what's it hurt? If the food was poisoned the President would- A cell phone rings. Both FBI agents look around. The driver checks his cell to be sure. DRIVER: Not mine, sir. The phone rings again. Fornell checks his cell as well. FORNELL: Not mine, either. TONY: Hello? Both agents look back at the body bag where the voice came from. Tony is inside it, with his cell phone pressed to his ear. GIBBS (voice on cell): We're in the clear, you can get out of the body bag. The FBI SUV slams to halt in the middle of the road, forcing a driver behind them to serve. Car horns honk. TONY: I never thought I'd say this, but I'm not sure I want to. A white van is driving down another road somewhere else. Gibbs and Ducky are in the back with the real body of Cmdr. Trapp. GIBBS: Fine. You've got to search Commander Trapp's apartment tonight. TONY: Oh, Gibbs, come on! It's 1: 00am. GIBBS: Agent [Axle Rod??] is trailing you to pick up the body bag when the FBI tosses it. TONY: That's funny, Gibbs, real funny. Especially since- Aaahhh! Tony trails off as the body bag containing him is dumped out onto the road. Gibbs just calmly hangs up and turns back to look at Ducky. GIBBS: I guess they found him. (smirk) cut to MTAC The NCIS Director is videoconferencing with the Secret Service and FBI Directors. NCIS DIRECTOR: Special Agent Gibbs has been operating under my direct orders. SECRET SERVICE DIRECTOR: Agent Todd was also acting under orders. FBI DIRECTOR: As was Agent Fornell. NCIS DIRECTOR: Then the problem seems to be that my man succeeded where your two... didn't. SECRET SERVICE DIRECTOR: Tom, this is no time for turf wars. Not after 9/!!. And especially when the President's life may be at risk. NCIS DIRECTOR: I'd like to think this is not about turf, Mark. Rather that we all believe we have the right people for the job. We shouldn't be agency directors if we didn't. SECRET SERVICE DIRECTOR: You're offering a shared investigation? NCIS DIRECTOR: I am. FBI DIRECTOR: Who leads? Your man? NCIS DIRECTOR: We do have the body. SECRET SERVICE DIRECTOR: (sarcastically) Huh. cut to Autopsy GERALD: I found Abby, she's on the way in. GIBBS: Yeah, did you wake her up? GERALD: No, I called her on her cell. Sounded like one phat party. Gerald leaves, carrying the Commander's uniform wrapped in plastic. Gibbs just blinks in confusion at the terminology. GIBBS: Find anything Ducky? DUCKY: Nope, and I won't for hours. (lifts an arm, uses a magnifying glass to peer at it) I've just gn examining the body for needle marks. GIBBS: You think somebody stuck him? DUCKY: I don't know. GIBBS: Anything on the uniform. DUCKY: Not that I could see. I've sent it up to Abby. GIBBS: (spots something) What's this? DUCKY: (checks) A mole. Gibbs, go home. Get some sleep. I would if I could, this is gonna take all night. What's left of it. Gibbs wanders over to the side counter and picks up a roll of paper towel. He lays it down like a pillow on an autopsy bed beside the corpse's and stretches out with a groan of relief. He rolls over onto his side and closes his eyes for a nap. GIBBS: Ducky, why would Abby go to a "fat" party? DUCKY: Jethro, (turns off overhead lights) get some sleep. Ducky goes back to work under the sole light of the spot lamp over the body. Meanwhile, Abby is in her lab examining Cmdr. Trapp's uniform under UV light. TONY: Abby? ABBY: Yeah? TONY (carrying a box of evidence): Find anything on his uniform? ABBY: Not yet. TONY: Well, I think I found how he was poisoned. Tony takes the box of evidence bags and starts laying them out on the countertop. Abby follows. TONY: This guy had enough vitamins, herbs, and organic food to open his own health market. If he was poisoned, I think you'll find it laced into one of these. ABBY (signs label on evidence bag to keep chain of custody): So what are you gonna do while I'm finding poison in a health snack? TONY: (yawns) I'll wait. ABBY: There's a futon, by the cabinet over there. TONY: (clasps hands in benediction) Oh, bless you. ABBY: (chuckles) What are you, my priest? TONY: (pause) Curse you? Abby laughs. Tony lays down for a nap under a desk with the futon mattress. Abby goes back to work. cut to NCIS headquarters. It's obviously a few hours later, the next day.* Ducky points out a yellow spot highlighted on the brain scan of the corpse, which is being displayed on the widescreen television. Everyone is there, including Agents Kate Todd and Fornell. DUCKY: My neural pathology exam indicates that our victim succumbed to a cerebral embolism. Here, in the parietal lobe. I also found a number of clots, most of them centred in the renal artery. KATE: Isn't that unusual? DUCKY: Oh, not at all. In most cases of arterial thrombosis, clots will develop over a period of minutes or hours, spread to the rest of the body. GIBBS: But what caused them to develop in a healthy young aviator? DUCKY: Abby? (turns the floor over to her) ABBY: Well I did a fibrinogen test. The procoagulate numbers were high, but they weren't off the charts. FORNELL: Any drugs that might induce the clotting? ABBY: Well yeah, but none of those popped up. I only iso'ed the epinephrine that was injected when he got jolted and juiced on the plane. TONY: No vitamins? Herbals? ABBY: The guy was an organic freak. I mean, he probably whizzed green. But none of that'll cottage cheese your blood. KATE: Did you test the food that ingested on Air Force One? ABBY: Everything that was bagged and tagged. Ribs, coleslaw, barby sauce... it was all negative for toxins. I mean, that stuff will kll ya, but it'll take, like, thirty years. Do you dudes in the Secret Service ever think about throwing yourselves in front of the President's diet? Gibbs chuckles, Kate smiles ruefully. FORNELL: So, you're both saying he wasn't mrder? DUCKY: However freakish and tragic, it apparently was a natural death. FORNELL: I want my people to check your results. DUCKY: Of course. You and Agent Todd will be receiving copies of all our tests. FORNELL: Does it for me. (looks at Tony) How's your butt? TONY: Still bouncing on the beltway. Fornell leaves. Kate goes to follow, but Gibbs calls her back with a stick of gum. GIBBS: Kate. (she takes gum) When's the President returning? KATE: Uh, tomorrow. Noon. I'm flying back tonight to rejoin the detail. GIBBS: Mind if I tag along? Kate waffles. GIBBS: (childishly) Please? KATE: (smiling smugly) You can. Your Sig Sauer can't. We have a rule: no wapon on Air Force One unless they're Secret Service. Kate pops the gum in her mouth. Gibbs shrugs and takes off his sidearm, tucking it away in a drawer. He puts on his coat and follows Kate out. GIBBS (to Ducky and Abby as he passes): Keep looking. ABBY: (amused) Wow. Gibbs said "please". cut to bar* Kate is having a drink with Major Kerry. KERRY (proposing toast with his beer): To Commander Trapp. (he and Kate clink glasses, drink) To come all the way through the wr without a scratch and then die in a stroke... He was in the thick of it on the push to Baghdad. KATE: You never told me that you knew him. KERRY: We had a drink when he reported to the Whitehouse. He wanted to know what tips I could give him. KATE: About the Football detail? KERRY: Yeah. Where he could find a good gym. Dry cleaners. Grocery mart. Local watering hole. KATE: Did you tell him about this place? KERRY: No. He might have run into us and that wouldn't have been good, would it? (takes her hand) KATE: (looks at their hands) No, it wouldn't. (slides her hand out from under his) KERRY: Huh. He wouldn't have run into us after tonight though, would he? KATE: (whispering) No. KERRY: Worried about losing your job? KATE: Worried about losing the President. When we work together my focus just wouldn't be a hundred percent. I'm sorry, Tim. That's the way it's gotta be and you know it. Major Kerry helps Kate out into her car and watches as she drives away. He goes to his own car, and as he gets in we see he has started to sweat profusely. He tugs at his collar but quickly starts convulsing and falls over, white foam dripping from his mouth. He's obviously dad. cut to Air Force One The President reboards the plane. PRESIDENT: Good to see you again, Major. (pats the new Football carrier on the arm) Always good to see ya. (to Agent Baer) Folks, that was a job well done. BAER: Thank you, sir. PRESIDENT: What do you say we head home? BAER: Absolutely. PRESIDENT: Alright. I agree. KATE (to Baer): Sir? I'm surprised that you didn't object to Agent Gibbs riding with us? BAER: He's here because his gut is still churning, isn't it? KATE: Yes, sir. I suppose you could put it that way. BAER: Well so is mine. Kate nods, equally as concerned, as she watches Baer walk off after the President. Air Force One takes off, once more. cut to NCIS Headquarters ABBY: Ducky, I have tested everything. Mineral acids, organic acids, alkaloids, bacterial poisons... DUCKY: You know, Abby, nature always proves to be a far more elusive and powerful kller than man. Ducky leaves. Abby looks thoughtful. cut to Air Force One* The new Football carrier is currently being served lunch. Gibbs watches him eat. KATE (to Gibbs): Expect him to drop? GIBBS: (goes over to Kate) I see you're over the flu. (sits) KATE: Twenty-four hour bug. Tim got over it yesterday. Tim is Major Kerry. GIBBS: Yeah. I kinda figured that. KATE: (defensively) I met him for a drink yesterday. I told him we had to stop seeing each other. I mean, we hadn't been dating long. I mean, we knew each other on the detail for a couple of months before we started... dating. You know, when you're on the job 24/7, how else do you get to know someone? GIBBS: Church. cut to Abby's lab She's looking at natural toxins produced by animals, such as the Puffer fish. The test comes up negative. She sighs and goes back to try another. cut back to Air Force One BAER: Annie. ANNIE: Yes? BAER: The President's ready to see you. Annie follows Baer out of the Press cabin, past where Gibbs and Kate are seated. Gibbs gets up to watch them curiously. GIBBS: Where they going? KATE: The President promised ten minutes to each member of the Press on board. Since we kicked them off at Wichita, he's playing catch up. GIBBS: Three years before 9/!!, Clancy wrote a book where a trror1st hijacked a commercial jetliner and crashed it into the Capital. (looks into Press cabin) In the Harrison Ford movie, the trrorists were reporters. KATE: Gibbs, everyone on board has been vetted by us for years. Except you. GIBBS: In the film, the trrorists got they're credentials from a Secret Service turncoat. Gibbs walks away. Kate sighs. A man from the Press cabin walks up beside her and watches Gibbs leave. MAN: Loosening up your dress code, Kate? KATE: He's not one of us. MAN: We all gonna get our fifteen minutes of fame? KATE (shuffling him back to his seat): It's ten, Leonard, and the President's doing his best. cut to Abby's lab* She's spinning a pair of scissors around her finger while she waits for her machine to beep. The test for Poison Arrow Frog is also negative. cut to street outside the bar where Kate broke up with Major Kerry The police have found a body. Tony drives up to investigate. TONY (to cop): Agent DiNozzo, NCIS. What do you got? COP: One dad Marine officer. No signs of trauma. (indicates wallet) Doesn't appear to be a robbery, there's still cash and credit cards in his wallet. (passes wallet to Tony) I've got two shting already this morning. Since this guy's one of yours, I hoped you might take it. Tony flips open the wallet and sees the ID. It's Major Timothy Kerry. TONY: Yeah. We'll take him. cut to Abby's lab* She's finally gotten a positive test result. The toxin is identified as "taipan1". Abby jumps up and down in exaltation. cut to Air Force One Gibbs is wandering around exploring the plane again. GIBBS: There's something different about this plane than Air Force One. KATE: This is Air Force One. GIBBS: You know what I mean. In the background, Agent Baer brings Annie back and calls for Leonard. It's his turn with the President now. He lingers putting on his sport coat as he leaves, overhearing Kate talk with Gibbs. KATE: There's some minor differences. 2900 is newer, has some minor updates. GIBBS: Like what? KATE: Rear loading hatch is bigger on the 2900. Extra lavatory forward. Locks are digital on 29, and keyed on this. Man on intercom interrupts them. COMM: Special Agent Gibbs, you have a teleconference call in Comm. GIBBS: (gets up to leave) Kate, I want to know every difference on this plane, no matter how small you think it is. KATE (calling after him as he walks away): Please? Gibbs takes the teleconference call. It's Tony at MTAC. GIBBS: What's up? TONY: Major Kerry is dad. D.C. cops found the body in his car on a street in Georgetown. Ducky and Abby'll update you. Tony switches the teleconference over to open up windows into Ducky's autopsy and Abby's lab so they can contribute as well. GIBBS: Another stroke, Duck? DUCKY: I'm afraid so, Gibbs. But this time there are multiple embolic infarctions. The Major must have received a heavier dose than the Commander. GIBBS: Dose of what, Abby? ABBY: It's venom, from a coastal taipan. It's a highly toxic Aussie snake. Well this junk zaps the nervous system and it clots the blood. You convulse, and then you stroke. DUCKY: The toxin is almost impossible to detect. TONY: Well, the truth is, Abby would have detected it if I hadn't interrupted her while she was ALSing the uniform. GIBBS: The venom was in the uniform? ABBY: Yeah. I found traces of DMSO in the collars and the cuffs. I think it was mixed with the venom to make it absorbed through the skin. TONY: Major Kerry was the intended target. When he came down with the flu, he didn't put his uniform on until yesterday. GIBBS: How did the trror1st get the poison into the uniforms? ABBY: Well, they both have tags from Dry Doc Cleaners on 19th Street. GIBBS: DiNozzo, why are you sitting there on your ass? Get a team and go ht that dry cleaners. Tony looks behind him at Director Morrow. The Director sits down in Tony's seat. DIRECTOR: I've passed that baton on to the FBI. This has all the earmarks of Al-Qaeda; unexpected, well planned, brilliantly excuted. But to what end? TONY: Wouldn't surprise me to hear Bin Laden on Al-Jazeera bragging about how he iced the President's Ball carriers. DIRECTOR: I don't think that's what he wants to brag about. GIBBS: Eh, neither do I. Gibbs signs off and leans back in his chair, thinking. Then he runs down the stairs to the new Football carrier, who leaps to his feet when he sees Gibbs. GIBBS: Where'd you get your uniform dry-cleaned? MARINE: Base cleaner at Quantico, sir. Gibbs walks back down the aisle, encountering Kate on the way. She's got her laptop open in her arms. KATE: I've accessed everything I could on the differences. GIBBS: We need to talk. (goes to open a door to an office) KATE: (stopping him) What are you doing? There's a campaign conference going on in there. GIBBS: I need to talk to you in private. KATE: Well, there's no other private meeting room. You could ask the President to give up his office, but it might be a little weird. Gibbs grabs her laptop and throws it down on a seat. While she protests, Gibbs pushes her into a bathroom and squeezes in with her. KATE: Hey! GIBBS: (taking her wapon) Sit down. KATE: What are you doing?! GIBBS: (holding her own wapon pointed at her) Commander Trapp was poisoned. Australian snake venom. Hard to detect, mimics a natural death. KATE: What? You think I did it? GIBBS: Well, sweetpea, you were with him when he was poisoned. KATE: Yeah, so was the President. You gonna accuse him? GIBBS: No. He wasn't with Major Kerry yesterday. KATE: Tim? GIBBS: Yeah. Stroked, on a Georgetown street. Kate looks upset. GIBBS: You know, I bet it wasn't far from the bar where you two kissed and said bye-bye. Kate starts hitting him, crying, very upset. She calls him an "asshle", then buries her face in his shoulder while he holds her. GIBBS (explaining): I gave it to you cold, wanted to see your reaction. Liars can't bail on cue. (hands her back her wapon while she gets ahold of herself) Come on. KATE: (takes wapon back) You're still a bastard. Gibbs doesn't argue. KATE: How were they poisoned? GIBBS: Dry cleaner laced their uniforms with poison. Must be an Al-Qaeda sleeper. KATE: Tim must have recommended his dry cleaners, he... GIBBS: What? KATE: (crying again) Yesterday, Tim told me that they had a drink and he gave Commander Trapp tips like that. GIBBS: Well they've got to be after the President, but what would klling the Ball carrier give them? KATE: Nothing. Another aide steps in. GIBBS: (realising) And another plane. This plane. They forced the President to fly his backup. KATE: Security's exactly the same. GIBBS: But the plane isn't. And I'll bet Security isn't either until the President's on board. Al-Qaeda has to have planted something on this plane. KATE: It can't be a bmb, they would have detonated it by now. cut to Press cabin* A journalist starts going into convulsions and drops to the floor. Secret Service agents rush to his side. SECRET SERVICE: Medical emergency, Press cabin. Agent Baer leaves from escorting Leonard to race to the Press cabin. Leonard ambles along behind him. The same three medics from before come running. BAER: Captain, is this the same thing Trapp had? DOCTOR: It appears to be. FEMALE MEDIC: (checks respiration) He's not breathing. DOCTOR: Start CPR. BAER: Do something! Leonard, meanwhile, walks over to the cabinet Gibbs had remarked on before when comparing the plane with the movie. He has a key to unlock the cabinet. Inside are wapon, and he arms himself with an atmatic. cut to bathroom* GIBBS: You said the locks were different. KATE: 29 has digital ones, this one has keys. GIBBS: Armoury, the armoury. They have keys to the armoury. They copied the movie. They've vetted a reporter. KATE: That would take years. (puts her earwig back in) GIBBS: So did setting up 9/!!. As they exit the washroom, Leonard sees them and ducks down side corridor before they can see him. KATE (listening to comm. chatter): There's a medical emergency in the Press cabin. GIBBS: It's a diversion. Cover the President. They split up. Gibbs back toward the Press cabin, Kate to the President. She draws her wapon as she approaches. KATE (to Ball carrier): Nobody gets past you. The Marine Football carrier plants himself in the middle of the aisle, a determined blockade. Leonard waits until Gibbs has passed by before going back out into the aisle. Gibbs makes his way to the armoury and grabs a gn. Leonard approaches the Marine guarding the hall, who moves to intercept him. MARINE: Sir, stop right there. Stop right there, sir! LEONARD: What's happened? GIBBS: Freeze! Gibbs is now behind Leonard, pointing his gn at him. Leonard halts. GIBBS: Get your hands in the air. LEONARD: (slowly turning around) Sure. Someone yelled for a doctor. As Leonard turns, he starts fring the atmatic on an arc toward Gibbs. Gibbs does not flinch, but fires once into Leonard's chest. Leonard falls onto his butt, alive and no longer fring, but still with his finger on the trigger of the atmatic. Gibbs sht him twice more in the chest and head. Leonard keels over, dad. Kate and everyone else shows up to see what happened. Gibbs walks passed the body up to Kate and hands her his appropriated wapon with a smirk. cut to Air Force One, once again parked on the tarmac surrounded by emergency vehicles.* BAER: I'm gonna be doing paperwork for a week. GIBBS: Oh yeah, me too. BAER: Agent Todd told me about her and Major Kerry when she tendered her resignation. GIBBS: Are you accepting? BAER: Of course, she broke the rules. (offers his hand) Well, thank you, Special Agent Gibbs. GIBBS: (shakes hand) No sir, thank you. Gibbs deplanes smiling. Kate is then seen walking despondently away from the scene. Gibbs comes running up to her. GIBBS: I heard you quit, Agent Todd. KATE: Happy news gets around fast. Yes, I resigned. It was the right thing to do. GIBBS: Yup. Pull that crap at NCIS, I won't give you a chance to resign. KATE: (surprised) Is that a job offer? Gibbs doesn't respond, but gets picked up by his mysterious redheaded lady friend with the convertible. Kate looks on in bewilderment. cut to Gibbs's basement The TV flicks on in the middle of a news report. Agent Fornell is giving a press conference on site at Air Force One. FORNELL (on TV): Federal agents working in unison with the Secret Service were able to foil a trror1st attempt to assassinate the President while he was on board Air Force One. The body of the trror1st is being delivered to the Armed Forces Institute of Pathology, where FBI forensics experts will endeavour to identify him. REPORTER (on TV): Was it Al-Qaeda? FORNELL: That's all we know at this time. The television sounds fade into the background as the camera focuses on Gibbs, once again diligently sanding his boat's frame to smoothness. END CREDITS	{"type": "series", "show": "NCIS", "episode": "01x01 - Yankee White"}	foreverdreaming
Original Air Date: 30/09/2003 Scene opens to a nighttime sht of a car parked under a big tree in the middle of a Park. Two teens are making-out in the backseat. The boy wants to take it further than the girl is willing. GIRL: Jimmy. Jimmy, ugh. Stop! I said no! (pushes him away) JIMMY: God, hey! I sat my sorry ass on a [torment??] bus for three hours to hook-up with you. GIRL: If you only came to "hook-up", then you should have stayed in Charlottesville. JIMMY: Oh, come on. You know I love you. (tries to kiss her again) Come here, come on... GIRL: (holding him back) Jimmy. (he persists, she struggles to push him away) Stop it or I'll scream! While the girl keeps trying to make Jimmy stop, he isn't listening. Then, at the moment she thrat to scream, a pair of legs punch through the roof of the car and splatter the teens in blood. The girl makes good on her promise to scream - quite nicely, in fact. The camera then pans back from the car and we see that the body is a paratrooper, stuck halfway through the car's roof with his torso sticking out. The girl continues to scream. INTRO CREDITS Gibbs is in his basement working on his boat. The television plays a football game in the background. Tony appears at the top of the stairs. TONY: Don't you lock the door? GIBBS: Nope. TONY (walking down stairs): We got a call. Quantico. Marine got klled in an exercise. GIBBS: How? TONY: Night training jump. Guy's chute didn't open. (examines wooden frame which is obviously a boat) Is this a boat? Gibbs gives him a look, as if to say "what kind of stupid question is that?" then with a shake of the head, goes back to sanding his boat. GIBBS: His reserve chute failed to open? TONY: I don't know. (looks at jar of orange liquid on tabletop, inside is a cell phone) Huh. I tried your cell. I tried your hard line, too. (we see wall-mounted phone has been ripped down) GIBBS: Don't ask. TONY: You know, my dad gave me a power-sander for my birthday. I don't really power-sand much. You're welcome to it. GIBBS: Except for that bare bulb there and the cord going to that idiot box, you see a power cord around here anywhere? Tony takes a quick look around just to check, then shrugs. He stokes a hand slowly along the smoothed surface Gibbs was working on, admiring it. TONY: (appreciatively) You use hand tools, huh? GIBBS: I use my hands. You call Ducky? TONY: Not yet. GIBBS (walking up stairs): Give me your cell. (holds out a hand) Tony tosses Gibbs his cell phone, then turns around to look at the broken telephone Gibbs ripped down. Gibbs exits the basement. GIBBS (calling back from upstairs): Coming, DiNozzo? TONY: (quietly) He's a weirdo. (louder) Yeah. I got the li- (the lights shut off, plunging the basement into pitchblack.) Light. cut to Park* Big klieg lights turn on, illuminating the area around the car with the paratrooper's body still in it. A military jeep and the NCIS mobile response unit are already on scene. A marine walks with Gibbs and Tony to the car. TONY: He impaled an SUV? MARINE: Like he was laser-guided, sir. GIBBS: Where are the other jumpers? MARINE (indicating a group of Marines off to the side): Over there, sir. They landed in the drop zone 400 meters north of the road. GIBBS: Just one stick? MARINE: Yes, sir. I guess the Jump Master held the others back when the victim's chute didn't open. GIBBS: Did you secure the paraloft and the aircraft? MARINE: Yes, sir. I also have the Marines who didn't make the jump under guard at the hanger. GIBBS: Yeah, put them with the others. Just keep 'em all separated. MARINE: Yes, sir. GIRL (overheard from offscreen): Oh my god. GIBBS: These the witnesses? (walks over) MARINE: Yes, sir. GIRL (talking to medic, distraught): My dad's gonna kll me. He's on duty, and he doesn't know that I took his SUV. GIBBS (to girl): Your dad's a Marine? GIRL: Yes, sir. MARINE: Master Sergeant Tom Schaefer, sir. He's a TI at Quantico. TONY (at boy, lurking behind them): Your dad a Marine, too? JIMMY: No way. (smokes a cigarette) GIBBS: (solicitously) You cold, Sarah? SARAH: A little. Gibbs goes over to the obnoxious boy and rips his jacket right off him. The boy barely protests, just keeps smoking. GIBBS: Thanks. (gives jacket to girl) Here you go. SARAH: (smiles gratefully) Thank you. GIBBS: Special Agent Gibbs, Special Agent DiNozzo. NCIS. Want to tell us what happened? SARAH (looking at boy): We were... parked, and... JIMMY (interrupting): We were hanging-out. Listening to Dashboard Confessional. GIBBS: What? TONY: Emo. GIBBS: (baffled) Emo? TONY: Emotional music. (whispering) Radio, Gibbs. GIBBS: Okay, so you were listening to music and...? SARAH: He smashed through the roof. JIMMY: Wham, pow, blood everywhere. SARAH: And I screamed, and we ran out for help. MARINE: I met them about a klick down the road on our way to the scene. SARAH: I felt bad for leaving him there. GIBBS: He was alive? SARAH: (nods) I heard him groan. JIMMY: (defensively) It was a death rattle. TONY (to boy): You ever hear a death rattle? JIMMY: I was using it as a trope. GIBBS: A what? JIMMY: A trope. A figurative use of (waves hands) expression. GIBBS: Yeah. (to Marine) Call her dad, have him pick her up. JIMMY: (eagerly) Does that mean I get to go? GIBBS: Not until after Master Sergeant Schaefer gets here. I'm sure he's gonna have a "trope" or two for ya. Gibbs walks away. The boy looks worried, cigarette forgotten in his hand. Gibbs, Tony, and the Marine walk to the SUV with the paratrooper stuck in it. Ducky has set up a ladder beside the vehicle so he could climb to the roof to examine the body. GIBBS: Ducky's here. TONY: Yeah, and on a ladder. I'll get the monopod. DUCKY: Last time I was up this high I was hanging a pinata at my nephew's birthday party. GIBBS: What do we got, Duck? DUCKY (using a flashlight): Oh, abrasions. (looks up) The tree must have slowed him a bit. Purple discolouration - neck's broken, I'd say. Hardly surprising given the rapid descent followed by the equally rapid deceleration. GIBBS: Witnesses over there said he groaned after he decelerated? DUCKY: It's possible. I won't know until I do the autopsy. Gibbs, having put on gloves, pulls out his own flashlight and starts examining the parachute draped over the back of the SUV. GIBBS: Looks like a number of his shroud lines failed. Enough of those go, chute doesn't catch air. It tootsie-rolls; puts you down like a roman candle. DUCKY: They cut? GIBBS: Nah, they look worn. (aims flashlight up) Still got his reserve chute on. Why didn't he pull it? TONY (interrupting): Hey! Look who I found. Tony is escorting Agent Kate Todd onto the scene. Kate is dressed in a business suit with a skirt and high heels. TONY: MPs weren't gonna let her passed. KATE: I got my Sig and badge, but HQ didn't issue my photo ID. (sees body) God, is this for real? DUCKY: Unfortunately, my dear, it is. GIBBS: Put 'em on. (hands her a pair of gloves) DUCKY: Ah, your first crime scene with us, Caitlin. KATE: What about Air Force One? DUCKY: Doesn't count, you were in the Secret Service. Hey, Tony, take a team photo for posterity. GIBBS: Forget posterity. Sun's gonna be up soon. (hands Kate a box) Welcome to NCIS. KATE (pulling a boot out of the box): How'd you know my size? GIBBS: (smirks and puts an NCIS cap on her head) Put 'em on. Can't work a field in high heels. TONY: (cheekily) Depends on the kind of work you're doing. KATE: Your mind, DiNozzo, runs the gamut from X to XXX. TONY: Yeah. GIBBS: Photos, Tony! TONY: (sighing) Yeah. (lifts camera mounted on monopod up to roof to take pictures of body) Ducky? Why would Gibbs rip his hard line out and dunk his cell phone into a jar of paint thinner? DUCKY: Oh, dear. TONY: What? DUCKY: I should have realised the time of year. (climbs down and into car) It's his anniversary. TONY: Which marriage? DUCKY: Why, the last one of course. Isn't it always? Tony takes some pictures around the outside of the SUV while Ducky examines the body's legs. TONY (popping into the car beside Ducky): Ducky, I'm not following. DUCKY: Every year, ex-wife number three gets drunk on their anniversary and calls him. Repeatedly. TONY: Why doesn't he, uh, change his number? DUCKY: I have no idea. In case you haven't noticed, Gibbs is a man of more questions than answers. They both chuckle. Gibbs and Kate return, Kate wearing the boots and her hair tucked under the cap. Tony snaps a picture of her. KATE: (sarcastically) Thanks, DiNozzo. TONY (grinning): Hey, you could be the NCIS poster-girl in that outfit. cut to Quantico airplane hanger* The tail end of the aircraft is sticking out of the open hanger doors. Lined up under it are each of the Marines involved in the jump. Each one has their parachute sitting beside them. Gibbs, Tony, and Kate approach. A disgruntled Marine meets them. MARINE: You JAG or NCIS? GIBBS: Do I look like a lawyer? MARINE: Word's all over the base by now. My men can't even call their families and let them know they're not the one who died. GIBBS: Was Sergeant Fuentes married? MARINE: He has a wife and son. GIBBS: Notification detail should be there to talk to her by now. Word will get out he was klled. MARINE: Sergeant Fuentes was under my command. I'd like to see her. GIBBS: After we finish questioning you and your men. MARINE: How long is that gonna take? GIBBS: I don't know. MARINE: These men have another jump at 21: 00. KATE: They're jumping again tonight? MARINE: We don't stop for casualties in wr, miss. Neither do we in training. GIBBS: Not true, Captain. They don't jump off a lower bunk until we find out what happened. CAPTAIN: (insultingly) I don't take orders from NCIS cops. GIBBS: Special Agents. And you'll follow this order. CAPTAIN: (belligerently) Or what, Special Agent? Gibbs pulls out his cell phone and hits speed dial. CAPTAIN: I don't take orders from your boss either. GIBBS: I'm not calling my boss; I'm calling yours. Commandant Mae? Special Agent Gibbs, NCIS. The Captain walks away. Gibbs waits until he's gone, then closes the phone. TONY: (knowingly) I don't have a Commandant of the Marine Corps on my speed dial. GIBBS: Captain didn't know that. (they walk over to the plane) Alright DiNozzo, sh*t and sketch. Focus on the static lines, Kate and I'll start the interrogation. TONY (gets into plane): Jumping's gotta be so cool. GIBBS: Hey! You wanna play paratrooper, pay a $180. Take a class, like all those other weekend warriors. TONY (leaning round the side of the plane to call after Gibbs): (sarcastically) Yeah, I have so many weekends free! Gibbs and Kate walk back into the hanger. Tony stands on the rear hatch of the plane, hands in his pockets, smirking. Inside the hanger, Gibbs and Kate are interrogating the other Marine jumpers. GIBBS: Did Fuentes lead your stick? MARINE: Yes, sir. I was number two, Ramsey was three, Brinkman four. cut to flashback* The paratroopers are on board the plane, preparing to jump. The Captain is issuing orders, the men are lined up in formation. CAPTAIN: First stick, you're up! Fuentes, look sharp! Dafelmair, Ramsey, Brinkman. Keep it tight! MARINES (all together): Aye, sir! CAPTAIN: Stand by. (pauses in front of open hatch) Go! (Fuentes jumps) Go! (Dafelmair jumps) Go! (Ramsey jumps) RAMSEY (in voice over): After my sh*t deployed, I looked around. I saw Brinkman's chute open above me, but when I looked down I only saw one canopy below. end flashback* RAMSEY: I didn't know whether it was Paul or Thumper. KATE: Thumper? RAMSEY: That's what we called Fuentes, ma'am. BRINKMAN: Sounds crazy now, but he was the squad's good-luck guy, ma'am. RAMSEY: He was a walking rabbit's foot. KATE: (nods) Oh. RAMSEY: Yes, ma'am. He always seemed to dodge the bllts. We could tell you a million stories. GIBBS: Why don't you tell us just one. RAMSEY: Well, sir, Larry bought a new bike last week. Car ran a red light, he went over it and into a plate glass window. DAFELMAIR: Dinged his collarbone a little. Other than that, not a scratch. GIBBS: Dinged it a little? DAFELMAIR: Day or two, he was fine, sir. GIBBS: Hmm... who reached him first? DAFELMAIR: I did, sir. I saw him roman candle short of the field. Soon as I got out of my harness, I took off to find him. GIBBS (to Ramsey and Brinkman): You two? BRINKMAN: I hung up in a tree. Dave gave me a hand. Saw Paul yelling, we joined him. RAMSEY: Can't believe we let Thumper die. It's like a bad movie. GIBBS: Was he dad when you reached him, Corporal Dafelmair? DAFELMAIR: Yes, sir. Died on impact, sir. I'm sure... well, at least I hope he did. KATE: Why didn't he pull his reserve? BRINKMAN: Jumping from 1300ft, your main fails? You have three, maybe four seconds to react, ma'am. GIBBS: Okay. Each of you need to prepare a statement detailing what you saw. MARINES (together): Yes, sir! The Marines go to pick up their parachutes, but Gibbs stops them. GIBBS: Whoa! Leave 'em. Your gear is ours now. The Marines share a look, then leave Gibbs and Kate alone. They watch them go. GIBBS: What'd you get out of that? KATE: He didn't have time to pop his reserve. GIBBS: Why not? KATE: (looks at Gibbs) Obviously his reaction time was too slow. GIBBS (turning to walk out of the hanger): That's... KATE: Dinged collarbone. GIBBS: Injured clavicle hurts like hell. Takes more than a couple of days to heal. KATE: You think Corporal Dafelmair was lying? GIBBS: He was if he knew that Thumper was taking painkillers so he could jump. KATE: That's stupid. GIBBS: No. That's a Marine. cut to Autopsy* Dr. Mallard is outlining the victim's various injuries to Gibbs and Kate, using the x-rays as visuals as he goes. DUCKY: Our victim sustained a broken neck, crushed vertebrae, multiple leg fractures, shattered pelvis... GIBBS: What about his clavicle? DUCKY: With all the massive skeletal damage, you're curious about his clavicle? GIBBS: Humour me. DUCKY: (pulls down the specific x-ray for a closer look) Huh, how did you know? There's a fine hairline fracture on the left clavicle, which he- KATE: Incurred recently, but not last night. DUCKY: No, it's gn to mend. (turns to look at Gibbs and Kate) You two are beginning to scare me. GIBBS: Ducky, would that fracture pain him much? DUCKY: Oh, nothing too severe. But of course, the shock of a parachute opening would have hurt like blazes. (points at x-ray) How did you know? GIBBS: The girl in the SUV said she heard him moan. Was he alive after impact? DUCKY: (nods) Briefly. Ducky goes over to the body. Kate moves to follow, but Ducky stops her. DUCKY: Ah, not too close, Caitlin. I'll put it on the monitor. (to Gibbs) He most certainly would have died of massive trauma, but the technical cause of death was severing of the femoral artery. Ducky hauls down a camera probe and feeds the image of the wound unto the big screen monitor mounted on the wall while he explains. Kate looks queasy at the graphic image. DUCKY: Yes. Our young Marine... bled to death. cut to Abby's lab* Abby is hanging a picture on her wall when Tony walks in. TONY: What happened to the sad end to a Drain-O drinker? ABBY: I did a new one. Art can't stand still, Tony. (admires her new wall art) TONY: (frowns) It was my favourite. So, what's the new one? ABBY: Self-inflicted gn wound to the abdomen. TONY: (hamishly) Of course! ABBY: I'm gonna call it "Blast from the Future". I figure with my gn shattered backbone (points at other picture on opposite wall) I've got like a Chagall feeling going on. TONY: Ah, in a Manson Family way. ABBY: Yeah! Gibbs and Kate enter. GIBBS: Abby, you have my tox screen results? ABBY: Yup, right over here. (goes to her computer) The victim tested positive for percocet and vicodin. Double your pleasure. TONY: Double your fun. GIBBS: What kind of levels? ABBY: 0.17. He was slow juiced, like a koala bear. My guess is that he popped right before he dropped. GIBBS: The Marines we questioned in his string probably knew. KATE: Why didn't they tell us? ABBY: Semper Fi. You rat, you fry. Gibbs gives Abby a look. She sobers. ABBY: Sorry. GIBBS: Was his reserve chute okay? ABBY: Yeah, it was perfect. All he had to do was pop it. KATE: Well he might have, if his reflexes weren't slowed by opioids. TONY: Opioids? KATE: General term for opiates and synthetic analgesics. ABBY: Go Kate! (they bump fists) GIBBS (to Tony): You sure you were a Baltimore cop? Tony makes a face. Abby smirks. KATE: Okay, he was too juiced to pop his reserve. GIBBS: Maybe. Maybe not. Pump adrenalin when you jump. Your main chute doesn't open, it would really kick in to high gear. KATE: Gibbs, if he had the reflexes to use it, why didn't he? GIBBS: I don't know. (to Abby) What you'd find from the shroud lines of his main chute? Abby walks into her other lab area. Everyone follows. ABBY: Fibre disintegration, but not from textile fatigue. It's fluorescing as some sort of cleaning agent. (runs a UV light over the broken lines) But that didn't cause this kind of damage. KATE (leaning down): Edges look melted. ABBY: I haven't tagged it yet, but it was definitely an acid that shredded the lines holding three hundred pounds of jumping Marine. GIBBS: How long to find the acid and check out the rest of those chutes? ABBY: Well I'm flying solo, so at least a day. GIBBS: Would it go faster if you had an assistant? ABBY: Oh, definitely. GIBBS: Okay (to Kate) You got the job. KATE: I get to do forensics? GIBBS (leaving with Tony): No, you get to schlepp for Abby. She gets to do forensics. Abby hands Kate a lab coat. They smile happily at each other. cut to [empty elevator shaft??] next to paraloft A parachute is hanging suspended down the shaft. Tony stands below it taking pictures. Gibbs is inside talking with Cpl. Dafelmair. The Corporal is preparing a table for of chutes. GIBBS: Why didn't you tell us you were a rigger, Corporal? DAFELMAIR: Thought you knew, sir. GIBBS: Did you? (grimaces) What's next? DAFELMAIR: Sign the log and stick it in the chute pocket. Dafelmair signs the log. Gibbs picks it up and compares it to the one from Sergeant Fuentes' chute. GIBBS: Same signature. DAFELMAIR: That was the log from Thumper's chute, wasn't it, sir? GIBBS: Yup, you packed it. Gibbs starts to walk away. Dafelmair anxiously races after him. Tony follows behind them. DAFELMAIR: Sir, I didn't know he'd get one that I packed. The chutes are handed out randomly, even when we jump. GIBBS: Riggers usually go on jumps? DAFELMAIR: On training runs, yes sir. TONY: How many riggers jumped last night? DAFELMAIR: Uh, Corporal Ramsey, Brinkman, and Thumper, of course. He was senior rigger. GIBBS: Figured we knew that too? DAFELMAIR: Sir, we weren't trying to hide anything. GIBBS: (exasperated) Oh, like hell you weren't, Corporal! TONY: You all knew Thumper was using painkillers for that dinged collarbone. (pulls the tag on a chute, popping it) He died because he was too juiced to pull his reserve. DAFELMAIR: Sir, there was not way for anyone to sabotage a chute and count on it getting to a specific jumper. GIBBS: Were all the chutes packed here? DAFELMAIR: Yes, we prepped them at 09: 00. Put them on the trucks for the jump at 18: 00. GIBBS: They were here for nine hours unattended? DAFELMAIR: Under lock and key, sir. GIBBS: Who's got the key? DAFELMAIR: Captain Faul and Thumper, as senior rigger, both have keys. Gibbs and Tony share a look. Gibbs open up a folder containing a police report. GIBBS: You had a criminal record before entering the Corps, Corporal. DAFELMAIR: Made a few mistakes, sir. GIBBS: Shoplifting. Drug possession. DAFELMAIR: It was a long time ago, sir. TONY: Three years. Not so long. DAFELMAIR: Look, sir, you have my file. You know the judge gave me a choice. Prison or the Service. The Corps gave me a second chance, sir. And I would never do anything to hurt it or one of my brother Marines. Never, sir. cut to Abby's lab Kate is helping Abby to prepare specimens of the shroud lines so she can analyze the acid. ABBY: (grinning) Carl Sagan time. (computer beeps) Sulfuric acid! That would chew the shine off a trailer hitch. Kate looks excited and impressed, grins at Abby. KATE: How'd you get into this? ABBY: Filled out an application. KATE: I mean, forensics. ABBY: Oh, uh, when I was a kid, we lived near this lot where they brought all the brned out hulks from the narliest car wrecks. I used to sneak in there at night and take pictures. (Kate nods) It wasn't about the gore. It was about figuring out how things happened. You know, like action and reaction and the science of the whole thing. I got hooked. How 'bout you? KATE: Actually, I wanted to be a lawyer. I did a year of law school - felt like ten years in prison. ABBY: With really boring inmates? KATE: (chuckles) Uh huh. ABBY: Admit it. You just like strapping on a gn. KATE: More than one. ABBY: Really? You packing more heat than meets the eye? KATE: (nods) Those your only tattoos? ABBY: You show me yours, I'll show you mine. Kate laughs. cut to Quantico base jumping school Gibbs and walk past a training area where an instructor is teaching new jumpers how to roll when they ht the ground. TONY: You ever jump? GIBBS: When I get an electric shock. TONY: Explains the lack of power tools. GIBBS: (indicating trainees) You gonna do it? TONY: What? GIBBS: Spend $180 to defy gravity. TONY: Yeah, I think I am. MARINE (calling from offscreen): Agent Gibbs! Gibbs and Tony turn around. A Marine jogs up to them carrying a mail package. He hands it to Gibbs. MARINE: This came for you, sir. I just missed you at the paraloft. GIBBS: Thank you, Lance Corporal. MARINE: Okay, sir. (leaves) TONY: Who's it from? GIBBS: (opening package) Ducky. The package is a new cell phone. When Gibbs pulls the phone out of the box, a note falls to the ground. Tony picks it up and reads it. TONY: Jethro, bean counters couldn't find you so they gave this to me. I suggest you read the instructions on call blocking. GIBBS: (sarcastically) That addressed to you? The new phone rings. TONY: (helpfully) It works. GIBBS (answering the new phone): Gibbs. Yeah, I'll be there in twenty. (hangs up, they go back to watching the trainees) You know, some of these guys freeze on their first jump. Have to be kicked in the ass to get 'em out. TONY: Not me. GIBBS: No. You fall into the category I want to kick in the ass on the ground. Gibbs forcefully shoves the empty box into Tony's gut, making him grunt. Gibbs leaves, Tony lingers to watch the trainees. cut to Abby's lab* Abby has the parachute spread out all over the lab. The lines are stretched taught in every direction like a spider's web. Abby moves through them carefully scanning each with a UV light. Gibbs and Tony walk in. TONY: Very electric kool-aid, Abby. ABBY: I was thinking more Blue Man Group. KATE: Sergeant Fuentes's chute wasn't the only one tampered with. GIBBS: How many? KATE: Nine, out of sixteen. Log book signatures show different riggers packed the lot. GIBBS: How many did Corporal Dafelmair pack? KATE: Four. The rest were packed by Corporal Brinkman and Sergeant Fuentes. TONY: Corporal Ramsey didn't pack any? KATE: Nope. When his signature didn't show up on a single chute, I called Captain Faul. He put Corporal Ramsey on a two-week rigging suspension for sloppy work. And guess who wrote him up for that sloppy work. GIBBS: Senior rigger. Sergeant Fuentes. (Kate nods) TONY: We got motive. ABBY: We got more than that. Kate and I have a theory. TONY: Why didn't you take to me this fast? ABBY: You're like a piercing, Tony. Takes a while for the throbbing to stop and the skin to grow back. TONY: (smiles ruefully) That's more than I wanted to know. GIBBS: What's the theory? ABBY: Okay. Every time you lace up your Docs or cinch your laundry bag, you leave some skin cells behind. It's the same with the parachute rigging. (types at computer) I pulled skin samples from the deployment bags of the chutes that were futzed with. GIBBS: Did you get a DNA signature? ABBY: All nine knots had a number of different sets of skin samples, but there's only set that's common to all nine. GIBBS: The saboteur. KATE: Our riggers of record packed the chutes, then someone came in and repacked them, leaving some skin behind. TONY: Corporal Ramsey. ABBY: Well, depending on how much he knows about forensics, he's either very smart or very dumb. GIBBS: There's gotta be other chutes that Corporal Ramsey packed in the paraloft inventory for comparison. ABBY: Hnn, negatory. I checked. They were all packed since he's been suspended. KATE: Well there's an Armed Forces DNA registry. All military personnel are on record, right? GIBBS: Yeah. KATE: (satisfied) Then we got our guy. GIBBS: No. (sigh) All we got is a pile of dad scene. The only thing you can use the DNA registry for is to identify a body. KATE: Well there has to be a way around that. GIBBS: (proud) See, now you're thinking like an NCIS agent. Kate grins, pleased. cut to NCIS Headquarters, outdoors* Gibbs (in voice over): We know that nine parachutes were rigged to fail. cut to Interrogation Room GIBBS: kller doctored them and repacked them. Sergeant Fuentes died as a result of that. It's premeditated mrder. The camera pulls back to reveal who Gibbs was speaking with, and we see it is Lt. Bud Roberts crossing-over from JAG. BUD: I'm sold. Hey, if I'm on the jury, you've got my vote. KATE: We found DNA evidence on the chute deployment bag knots. BUD: Belonging to your suspect? KATE: We believe so. To be certain, we have to access the Armed Forces registry. BUD: (scoffs) That's impossible! Registry was set up to identify remains only. He knows that. GIBBS: I do? BUD: You tried to use it when you after Commander Rabb, for mrder. KATE: He get him? BUD: No, because he wasn't guilty. You couldn't use the DNA registry then, what makes you think you can use it now? GIBBS: You, lieutenant, you're a smart lawyer. (lurks over Bud's shoulder, takes his pen) And you know the law. (starts clicking the pen next to Bud's ears, one side then the other) BUD: I know why I'm here. GIBBS: Oh, I hope so. I requested you. BUD: Yeah, you requested me because you think you can work me like you did last time when I ratted out Commander Rabb. GIBBS: You did not "rat" on anyone. You told the truth. (starts looking for lint on Bud's shoulder) BUD: I, uh, gave my uniform an extra lint roll this morning, Agent Gibbs. And you waltzing around in my blind spot? Not gonna intimidate my this time. GIBBS: Were at 24 hours now, soon it's going to be 48. You've done investigations, you know what that means? BUD: I've done JAG nano-investigations, sure. At 48 hours, you're evidence begins to degrade. Disappeared witnesses change their stories, suspects improve theirs. I know. KATE: So help us. BUD: No! You're not going to get me to lawyer you passed an iron-clad prohibition that prevents tapping into DNA records that were designed to identify bodies. Not chase suspects. GIBBS: This guy is guilty. He klled him. Let him drop to his death from 1300ft. BUD: It doesn't matter. GIBBS: For every legal firewall, there is a way around it. BUD: (shakes head) I can't help you. And can I please have my pen back? GIBBS: Oh. Oh yeah, sure. (returns pen) You're gonna need it, because if I can't have my DNA I'm gonna need some search authorisations signed. (smiles conspiratorially at Kate) cut to NCIS Headquarter's offices KATE: You knew Lieutenant Roberts wasn't going to lawyer us access to the military database. GIBBS: (innocently) Did I? KATE: You did. So why go through the exercise? GIBBS: Kate, I come from a long line of horse traders. First rule, you pick the best horse in the barn and you work the deal until it bursts. TONY: That way, when you go for the second best nag, you get her for a song. KATE: (realising) The search authorisation. GIBBS: We didn't have probable cause. But the lieutenant, he's a man who aims to please. You never work the system, when you can work the people. KATE: Any of those horse traders you come from get hung? GIBBS: (glibly) Yeah, a few. Kate nods, unsurprised. GIBBS (to Tony): Did you find out what Ramsey was written up for? TONY: Ah, yeah. (reads from clipboard) Frayed lines, bent cones, cuts in the canopy. Tell ya, I hope this guy isn't going to medical school at night. (remembers something) Oh, yeah! Scuttle butt is- KATE: Scuttle butt? GIBBS: That's Marine, for watercooler gossip. (Kate nods in understanding) TONY: The scuttle butt is that Ramsey took a swing at Thumper for getting him suspended. Gibbs's cell phone rings. He pulls it out to look at the call display. GIBBS: Identity withheld. TONY: Probably the reason you married her. Kate looks up, interested. Gibbs looks annoyed. TONY: She probably hid her real personality. As most women do. Now Kate gives him a disgruntled look. The phone continues to ring. TONY: And by that time it was too late, because you'd already... Tony finally looks at Gibbs, who is staring at him. Just daring him to finish that sentence. Tony wisely withdraws. The phone keeps ringing. TONY (backing away): I'm gonna shut up now. GIBBS: (sarcastically) Now? Tony slinks back to his own desk. Quietly. KATE (to Tony): Do you really just say "as most women do"? Tony just gives her a petulant look. GIBBS: Meet me at the paraloft at 14: 00. We'll execute our search authorisation to go through the riggers's lockers. TONY: That's two o'clock Secret Service time, Kate. KATE: (smugly) We used Zulu time, Tony. TONY: (scratches his chin) Zulu time. Oh yeah, that'd be... KATE: 19: 00. TONY: (scoffs) I knew that. Gibbs shakes his head and leaves. cut to Fuentes residence There's a kid up in an unfinished treehouse in the front yard. Gibbs looks at him as he walks up to the door. The he pauses, changes his mind, and approaches the kid instead. GIBBS: Hey. Can I come up? The kid, a young boy, doesn't answer. GIBBS: Do I need a password? (no answer) Ah, maybe I'll just come up a little. Gibbs climbs up the ladder until he can the kid. The kid is sitting despondently, tearing up leaves in his bare unfinished treehouse. The treehouse itself is little more than a platform with posts at the corners. GIBBS: You really should have a password. KID (finally looking at Gibbs): Why? (holding back tears) It's never gonna be finished. My dad's dad. GIBBS: Yeah. Yeah, I know. WOMAN (calling from below): Who are you? Gibbs looks down. Two women are exiting from the house. He climbs back down the latter. GIBBS: I'm, ah, Jethro Gibbs. (shows badge) NCIS. WOMAN: I don't have time to answer questions. We're on our way to the funeral. GIBBS: I'm not here to ask questions. WOMAN: Then why are you here? KID: He says I need a password, mom. WOMAN: What? GIBBS: I told him a treehouse should have a password. WOMAN: Oh. (looks at treehouse) Larry was building that for him. GIBBS: Doing a good job. WOMAN: Larry was a good man. A good husband, and a good father. GIBBS: Good Marine. WOMAN: There are rumours that his death wasn't an accident. GIBBS: Whatever happens, Mrs. Fuentes, I'll find who's responsible. MRS. FUENTES: Billy, we have to go. Billy climbs down the ladder. His mother starts brushing dust/dirt off his suit. MRS. FUENTES: Ah, look at you. All dusty. Come here, your hair's a mess. Where's your comb? (kid pulls a comb from his pocket) Larry always told him to carry a comb. BILLY: (combing hair) Like J.F.K. Whoever he is. GIBBS: He was a Navy guy, like your dad was a Marine. (kneels to kid's level) Navy guys, Marines... they always look their best. Your dad would want you to look your best today for him. BILLY: (tearfully) I don't want the Marines at the funeral to see me cry. GIBBS: Never be ashamed of tears, bud. BILLY: Marines don't cry. GIBBS: Yeah, they do. At J.F.K.'s funeral, his son saluted the coffin. You know how to salute? Billy steps back and demonstrates a text-book salute. GIBBS: (smiles) Perfect. You salute your dad today, nobody'll notice the tears. Billy nods. His mother smiles briefly in gratitude. Car starts up. MRS. FUENTES: We have to go. Gibbs stands and Mrs. Fuentes starts to lead her son away. She only gets a few feet before she stops and turns to look at Gibbs. MRS. FUENTES: I believe you'll get whoever did this. GIBBS: You have my word. cut to Quantico para-training facility* This time, Tony is the trainee getting lessons in how to jump and land properly. He's all decked out in the cammo gear, too. MARINE: Keep your feet together, cushion the impact. TONY: That's it? MARINE: You signed the release to notify next of kin, right? TONY: (huffs a laugh) Just don't say break a leg. The Marine pats him on the back and Tony turns sideways to jump the five feet to the ground. He hits hard, but manages to roll back up to his feet. Gibbs and Kate are approaching, watching him. TONY (to Marine): How was that? KATE: Very ladylike. GIBBS: DiNozzo! What are you doing? TONY: Ah... (takes off helmet) Just doing a little research for Abby. GIBBS: (doubtful) For Abby? TONY: Well, maybe I'm serving two masters. GIBBS: (crooks a finger) You're serving one, now. KATE: How did you get into NCIS? TONY: I smiled. (grins) cut to paraloft MARINE: I had the riggers's lockers sealed immediately after the incident. Tony, Gibbs, and Kate snap on gloves. Thumper's string of jumpers are lined up in front of them. GIBBS (to Ramsey): Keys? Ramsey passes the first set of keys over and Gibbs gives them to Kate. She opens Ramsey's locker. DiNozzo gets the next set of keys, and checks Dafelmair's locker. Gibbs takes Brinkman's. All three thorough search the lockers. Kate finds a small box full of stuff. KATE: Got something. She sets the box down on the table and starts carefully unloading it. Rags, tools, a canister of something. GIBBS: (picking up canister) Brass-stripper solvent. KATE: Read the contents. Gibbs flips the container over and tries to read the small print on the back, but can't make it out without his glasses. He passes it back to Tony with a wince. TONY: (reading contents) Contains petroleum distillate, ammonia, and sulfuric acid. Harmful if swallowed. Or applied to shroud lines. KATE: Ramsey's locker. RAMSEY: That stuff's not mine. GIBBS: Sergeant Nutt, place the corporal in custody. Tony, read him. TONY: (while Sgt. cuffs Cpl.) You have the right to remain silent. Tony keeps reading Ramsey his rights while Gibbs relocks his locker. cut to Interrogation room, NCIS headquarters Gibbs has Cpl. Ramsey in the room. Gibbs is twirling the corporal's keys around his finger. GIBBS: Scuttle butt has it that you and Thumper mixed it up in the paraloft. RAMSEY: We exchanged words, sir. GIBBS: And fists. RAMSEY: Punch or two was thrown, nothing serious. I damn sure wasn't angry enough to kll him, sir. GIBBS: Well maybe you only meant to scare him. But Thumper was on painkillers and didn't have time to pull his reserve. RAMSEY: I didn't touch his chute, sir. How could I? I'm on suspension. The paraloft is under lock and key. Tony enters the observation room. Kate's already there. KATE: What'd you find? TONY: Hardware store where our guy did one-stop shopping. Clerk's pretty fussy. He does remember a Marine in a real hurry to copy a key. Kate nods. In the Interrogation room, Gibbs reveals a duplicate key. GIBBS: All you needed was a key. Like this one. (Ramsey looks nervous) I found this one in Thumper's personal effects. RAMSEY: If that's the paraloft key, you won't find one like that on my keychain. (Gibbs checks key matches) I've messed up some rigging, sir, but never intentionally. A guy jumps with one of my chutes, he puts his life in my hands. I never breached that trust, sir, never. GIBBS: Now. (holds up key match) Are you gonna tell me that was a plant too? RAMSEY: (desperately) Had to be. I'm not guilty, sir. In the observation room, Kate rolls her eyes at Tony. TONY: They're always so sincere when they say that. Gibbs stares at Ramsey, who is on the verge of freaking out. GIBBS: What if I was to give you an offer to prove that? RAMSEY: Anything, sir. GIBBS: Maybe you'd be willing to give us a sample of your DNA. RAMSEY: Someone put that box in my locker and that key on my keychain. How do I know that you don't have my DNA on something else they planted too? GIBBS: (smirks) You don't. cut to NCIS Headquarter's offices* Gibbs is reading a file, or trying to. He closes it in frustration and tosses like a frisbee to Tony. GIBBS: DiNozzo, where'd you learn how to write? China? KATE: I'd say Egypt, looks more like hieroglyphics. TONY: (indignantly) Hey! You were in a rush to read it. GIBBS: (salutes him with his mug of coffee) My mistake. KATE: Are those the interviews of the Marines that didn't jump? TONY: Yeah, it's not very interesting... While Tony tells Kate what's in the file, Abby steps off the elevator and into the offices. She carrying a box with a cotton swab in it. ABBY: Corporal Ramsey finally gave it up. His mouth was drier than mummy dust. I had to swap it four times to get a decent DNA sample. GIBBS: How long to test for a match to the skin cells? ABBY: Well, if you want no [??time stamp 33: 01??] in court, you've gotta give me 24. GIBBS: Abby, clock's ticking. KATE: You don't expect a guilty man to give up his DNA. TONY: Well, he's rolling the dice. Hoping for that one-in-a-million sht it won't match. KATE: Guilty people do that? TONY: (huffs) All the time. GIBBS: Uh, Kate has a point. What if Ramsey was set up? What if, what if he's innocent? What if he's telling the truth? TONY: Well we'll know in 24 hours but I wouldn't bet on it. GIBBS: (gets up, puts on coat) Well, you know what, I don't like sitting on my ass waiting for a DNA match. KATE: (gets up, grabs gn) They are only two other possible suspects. Corporal Dafelmair or Brinkman. GIBBS: No, there's three. You're forgetting Captain Faul. He's got a key to the paraloft. (sees Tony getting up putting his holster on) Where do you think you're going, bubba? You've got a report to finish. cut to Captain Faul's office FAUL: Sergeant Fuentes was one of the finest NCOs in my command. He was tough on his riggers, but fair. Ah, I still find it difficult to believe his reporting Corporal Ramsey drove him to mrder. KATE: Corporal Ramsey hasn't been proven guilty yet, Captain. FAUL: You're holding him. Scuttle butt is he's confessed. GIBBS: Never knew a Marine captain who believed scuttle butt. Gibbs grins at his own statement. Cpt. Faul does not look amused. GIBBS: How did you prepare the day of the exercise? FAUL: I spent the morning in [trout??] talk with the Naval aviators piloting the C-130. GIBBS: The nest used a Navy bird? FAUL: Most of ours are deployed in Iraq. KATE: You each lunch with them? FAUL: At the Officer's Mess. After lunch, we had a couple of dry runs, had another [trop??] talk, and then loaded up. Why? GIBBS: Do you have your paraloft key, Captain? Faul opens his drawer and pulls out his keychain. He displays his paraloft key to Gibbs. GIBBS (to Kate, but not quietly): Corporal Ramsey must have lifted Sergeant Fuentes's key long enough to make a duplicate. FAUL: Corporal Ramsey made a key to the paraloft. GIBBS: It's the only way he could have slipped in to sabotage the chutes. (shakes hands with Faul) KATE: Thank you. (shakes hands with Faul) FAUL: Thank you. (fiddles with keychain) Why didn't you just ask to see my key? GIBBS (pausing at door): Agent Todd is new, just teaching her how to interrogate. FAUL: The paraloft was secured between 09: 00 and 18: 00. That's why you wanted to know what I was doing all day. You suspected me. KATE (to Gibbs, playing along): If the captain were a suspect, we would have read him his rights, wouldn't we? GIBBS: (smirks) Very good, Agent Todd, very good. Kate grins at Cpt. Faul and follows Gibbs out. Faul watches them leave. cut to NCIS Headquarter's offices* Gibbs and Kate walk off the elevator onto the floor. Tony hands Gibbs his typed-up report. TONY: The Captain have an alibi? KATE: He was no where near the paraloft when the chute's were sabotaged. TONY: Ramsey's the dirtbag. KATE: It could still be Dafelmair or Brinkman. GIBBS (reading from Tony's report): Sergeant Fuentes supervised the riggers handing out chutes. TONY: Yeah, he watches the riggers from the back of the truck. GIBBS: Ramsey participated. TONY: Well, he's on suspension from rigging, not passing out chutes or jumping. KATE: (theorising) He could have given Thumper a dirty chute. GIBBS: (looking up) What'd you say? KATE: Ramsey. Could have given Thumper a sabotaged chute. GIBBS: No, you said "dirty". KATE: What? TONY: With Gibbs, you never know. Gibbs takes off quickly, having an idea. Kate and Tony follow in confusion. cut to Abby's lab GIBBS: Abby, I need to see Sergeant Fuentes's reserve chute. ABBY: Might want to take a look at this first. (indicates her wall monitor) Now that I'm only running one DNA analysis, I finally had time to do a particle pick on the shroud lines. You're looking at the infrared of Bolivia's best. TONY: Cocaine? GIBBS: The kller's using? ABBY: No, the rock's too pure. The residue on his skin s probably from cutting and weighing. KATE: (rhetorically) Why don't I think Thumper was klled for reporting Corporal Ramsey's rigging? GIBBS (to Abby): Where's Thumper's reserve chute? ABBY: It's over here. (picks up a plastic wrapped bag) I already checked it, Gibbs. It's clean. GIBBS: (puts on gloves, lifts flap on chute) Know what, it's too clean. Too clean for someone who smashed into a tree and an SUV. (to Abby) Where's the other jump gear we confiscated. ABBY: I stored it in the Ballistics lab after I tested it. They all go into the other room. Gibbs starts searching through the bagged chutes. ABBY: What're you looking for? GIBBS: Ramsey. Dafelmair's. Brinkman's gear. Here's one. (moves it to make it more accessible, Abby starts cutting the plastic wrap open) TONY: What are you looking for? GIBBS: A screwed pooch. Abby finds and cuts open the bagged chutes of the other two guys. Gibbs starts opening them up and taking them apart to check the reserve chute tucked away inside. On the second one, he finds it. GIBBS: Here it is, it's dirty. (holds it up so we can read the number "13" printed on side) This is the reserve that Thumper jumped with. ABBY: Unlucky thirteen. GIBBS: Someone pulled a switch after he ht the SUV. Gibbs tests the reserve chute by pulling on the pin. Nothing happens. He flips a flap and sees why. GIBBS: The cones been soldered in place. Doesn't matter if the painkillers slowed his judgement, he couldn't use this chute. TONY: (starts looking for a label) Hey, how's ruck sack is this? Gibbs finds the label with the owner's name on it. Everyone shares a look. GIBBS: Call Captain Faul. Tell him jump ops can resume, we've got our kller. KATE: Do I tell him who? GIBBS: Nope. I don't want DNA evidence, I want this bastard to confess. (Kate nods, leaves to make call) TONY: How we gonna do that? GIBBS: (tosses sabotaged chute at Tony) Where this when we jump. TONY: Jump? cut to airplane, night A line of paratroopers are boarding the C-130 parked outside the hanger. Tony and Gibbs, in full paratrooper regalia, join the procession. They pause when they get to the hatch. GIBBS: Hey, Cap! FAUL: Aren't you a little old to re-up? GIBBS: (drolly) I hear there's a wr on. FAUL: Agent DiNozzo, I can't tell if your enlisting or just listing. TONY: (struggling under the weight of the pack) Ha, ha, ha. That's a good one. GIBBS: We're going with you, boys. NCIS training mission. FAUL: (rolls his eyes) Now why don't I believe that? (Gibbs stares at him) Hell, why not? Hate to pass up the opportunity to toss a couple of NCIS agents out of a plane. (gives Gibbs his hand to haul him aboard) The plane takes off. BRINKMAN (to Tony): Why you jumping with us, sir? TONY: Always wanted to jump. Agent Gibbs came along to laugh. DAFELMAIR: Hare to believe Dave klled Thumper over a lousy two-week suspension, sir. GIBBS: Yeah. BRINKMAN: Thumper rode him, sir. But no more than the rest of us. Just doesn't make sense. TONY (acting like he just noticed his reserve chute has "13" on it): Oh no! GIBBS: What, chickening out? TONY: (scowls at Gibbs) Thirteen. It's my first jump and my reserve is number thirteen? GIBBS: (leadingly) Wouldn't have bothered Thumper, would it guys? (Dafelmair and Brinkman share a look) Is either of you superstitious? MARINES (together): No, sir! GIBBS: Great! (to Tony) Why don't you swap with Corporal Brinkman. TONY (to Brinkman): What's your reserve chute number? BRINKMAN: Four. TONY: Four? (looks at Gibbs) Four is unlucky in China. GIBBS: We're not in China. TONY: I don't care. (to Dafelmair) What's your number? DAFELMAIR: Eight. TONY: Great! (to Gibbs) Eight's lucky in China. Tony takes off his reserve chute and offers it to Dafelmair. Dafelmair just looks at it. GIBBS: There a problem? (stares at Dafelmair) DAFELMAIR: (hesitates) No, sir. Dafelmair unhooks his reserve chute and switches it for Tony's. He stares at Gibbs the whole time. An alarm beeps. FAUL: Stand up! The men grasp hands to haul each other up to their feet in the cramped space. Gibbs and Dafelmair help each other - neither looks pleased. Dafelmair takes the lead in the string, Gibbs right behind him. FAUL: Hook up! The men hook on to the static lines and start to move forward. GIBBS: Thumper ride you, Corporal Dafelmair? DAFELMAIR: He rode everybody, sir. GIBBS: About being a drug dealer? (Dafelmair stops and stares at him) That's his reserve chute you're wearing. The one you switched on him when he landed. DAFELMAIR: (looks down at chute, worriedly) Don't know what you're talking about, sir. TONY: You were the first one down. First one to get to Thumper. Ramsey was helping Brinkman out of a tree. BRINKMAN: What's he saying, Paul? DAFELMAIR: I don't know! TONY: Only takes a couple of minutes to switch a bad chute for a good one. GIBBS: Marine Corps gave you a second chance. When Thumper found out you soiled the uniform by dealing drugs, he wouldn't do it. FAUL: I thought Corporal Ramsey was guilty. DAFELMAIR: (aggressively) He is, sir! Gibbs draws a small pocket Knfe. GIBBS: [Fa bra??], Corporal. Prove it. (cuts Dafelmair's main chute line) FAUL: What the hell you doing?! His main can't open. GIBBS: He's got a reserve! DAFELMAIR: Captain, this is nuts! You gonna put a stop to this, sir? Everyone looks at each other. It's a tense moment. Then the alarm beeps again. FAUL (checking watch): Thirty seconds 'til drop. GIBBS (to Dafelmair): A confession right now of your drug supplier will get you a deal. DAFELMAIR: (thinks about it for a few seconds) How good a deal? GIBBS: (sneers) Read him his Article 31s. TONY: (unhooking to step forward) You have the right to remain silent. BRINKMAN (interrupting): He doesn't deserve a deal! Brinkman attcks Dafelmair and in the confusion of the scuffle, Tony gets knocked off the plane. He screams on the way down. Gibbs runs to the hatch to look out. GIBBS: (sees Tony's canopy open) Goodbye, DiNozzo. TONY: Whoohooo!! cut to NCIS Headquarter's offices The television is playing a news broadcast. Sgt. Fuentes's picture is on the screen with the image of a waving American Flag behind him. NEWS ANCHOR (on TV): Military authorities arrested a Marine and charged him with mrder, in connection with Larry Fuentes's tragic parachute mishap three days ago. TONY (watching broadcast): We ever gonna make the eleven o'clock news? GIBBS: Could have happened tonight if you broke your neck. TONY: Well, it's been a long one. (puts on wapon) You leaving soon? GIBBS (writing a report): Mmmhmm. TONY: Alright. (grabs coat and keys) G'night. Tony leaves. Gibbs watches him limp past, favouring his right leg, and smiles. Then his cell phone rings. Gibbs drops his pen and flips open the cell, holding it up so we can read the call display. It says "Caller ID Withheld". Gibbs stands up and throws the phone into a drawer. cut to Fuentes residence, early morning We hear hammer noises. Billy Fuentes comes out of the house in his pyjamas. He looks up at his treehouse and sees Gibbs, hammering a board into place as a railing. BILLY: Can I come up? GIBBS: You got a password? BILLY: Yes, sir. Semper Fi! GIBBS: (grins) That's a good password. Come on up. Billy climbs up to the treehouse and he and Gibbs work together to finish building the treehouse. END CREDITS	{"type": "series", "show": "NCIS", "episode": "01x02 - Hung Out to Dry"}	foreverdreaming
MUSIC IN: EXT. BEACH - NIGHT (SFX: MUSIC PLAYS B.G.) (SFX: CAMPFIRE B.G.) (SFX: gn) DAVE: Hey, did you hear that? SARAH: Yeah. I've always dug the Eighties. (MUSIC OUT) (SFX: VOICES SHOUT) DAVE: Hey! Shut up! Shut up! You hear that? (SFX: gn CONTINUES) SARAH: Sounds like fireworks. DAVE: I don't see any. That's gn! (SFX: RAPID gn) SARAH: Well, whatever it was, it's over now. DAVE: Not yet! (SFX: BOAT ENGINE) DAVE: Look out!(SCREAMS) (SFX: POWER BOAT DRIVES ONTO THE BEACH) DAVE: There's no one in it!(DAVE WALKS TO THE BOAT) DAVE: Fireworks, my ass! It's all sht up! (MOTOR STOPS) (MUSIC OVER OPENING CREDITS AND OUT) (MUSIC OUT) FADE IN: INT. NCIS SQUAD ROOM - DAY "SEADOG"(ELEVATOR DOORS SLIDE OPEN) TONY: Hey. KATE: Morning. How was your weekend? GIBBS: What have we got? KATE: So much for small talk. TONY: Car crash in Quantico last night. No fatalities. GIBBS: Next. TONY: Petty Officer caught shoplifting at Bloomingdale's. GIBBS: Is there anything worth over fifty grand at Bloomingdale's, DiNozzo? TONY: I don't think so. GIBBS: Then why would we handle it? Next. TONY: I heard a rumor about an ecstasy ring at Lejeune. GIBBS: You heard a rumor? KATE: Oh, he's been searching for a case... any case since I came in. TONY: (READS) "All Agents not working active cases are to attend a sexual harassment lecture at the NCIS Human Resource Training Center at zero nine thirty hours. Today. GIBBS: I cannot sit through another one of those. I will sht myself. KATE: You mean they actually train you guys how to harass? (LAUGHS) Hey, I'm kidding. Except for Tony. TONY: For the last time, Kate, I was only trying to get my seat belt on. KATE: Right. Seat belt. (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. Okay, we're on it. (HANGS UP PHONE) GIBBS: dad Navy Commander just washed up on North Virginia Beach. TONY: Yes! KATE: gn! TONY: I hate when she does that. MUSICAL BRIDGE TO: EXT. BEACH - DAY REPORTER: (SPELLS) ....L I ? LINN: (SPELLS) Linn. L..E GIBBS: Gibbs. NCIS. LINN: It's about time you guys showed up. We've been running between the body and this boat all night long. Boat crashed ashore right in the middle of a beach blanket bingo. Hard to believe a Navy Commander getting mixed up in stuff like this. GIBBS: Stuff like what? LINN: Drug running. DEA's working two dad drug dealers three miles north of here at Fort Story. GIBBS: Three miles up the beach and you tied it to the Commander? LINN: They're all sht up. So is his boat. Got to be a connection. GIBBS: And you are? FONTAINE: Diane Fontaine, WXEK News. I'd like to ask you some questions. GIBBS: (OVERLAP)DiNozzo! TONY: Yeah? GIBBS: Escort Miss Fontaine off our crime scene please. TONY: Miss Fontaine? FONTAINE: Let's go, guys. GIBBS: Sergeant Linn is it? You in the habit of convicting people before the investigation starts? LINN: What? Hey, no. I... DUCKY: (OVERLAP) What have we got, Gibbs? GIBBS: The Commander's wallet with this Sergeant's prints. DUCKY: You removed a wallet from a body without gloves!? LINN: I had to get the vic's name. DUCKY: He's not a vic. He's a victim. Where did you learn crime scene procedure? Watching Kojak reruns? LINN: Okay, now just hold on a minute. DUCKY: (OVERLAP) What else did you do to my crime scene? All right, let's start at the beginning. Tell me what you did when you got here.... from the top. CUT TO: EXT. BEACH - DAY (INTERCUT FLASH PHOTO SCENES) KATE: Looks like a herd of elephants went through here. GIBBS: Yeah, just one fat local LEO. All right Kate, bag this. I'll do the photos. KATE: Tony told me what to do. GIBBS: Tony doesn't tell you what to do. I do. Your elephant said the Commander's boat got sht up. Why don't you grab an extra kit from the truck and work that scene. KATE: By myself? GIBBS: You need help? KATE: No! I got it! GIBBS: Hey, have it towed back to the garage when you're done. And get the witness reports while you're at it! TONY: I need more assignments like that, Boss. GIBBS: Did you get her number? TONY: Oh, yeah! JACKSON: You think he was sht or drowned? TONY: Well, either way he's dad. GIBBS: That's too bad. Good guy. He got you out of that sexual harassment lecture.(SFX: CAMERA SHUTTER CLICKS) TONY: I'd rather be at the lecture. DUCKY: That man is an imbecile. He shouldn't be a school crossing guard! GIBBS: Yeah, move. Haven't heard you this pissed, since you shoved that French flic off a cliff, Duck. JACKSON: You shoved a French cop over a cliff? DUCKY: There was a lake below. GIBBS: Sixty feet below. Duck, this crime scene's a mess. Can we move the body? DUCKY: Why not. The imbecile obviously has. GIBBS: Let's turn him over and see if he was sht in the back. TONY: I guess we can rule out accidental drowning.(SFX: CAMERA SHUTTER CLICKS) DUCKY: Oh, my friend... even if you'd survived the water, you would have never have walked again. GIBBS: The DEA found a couple of bodies up at Fort Story that might be tied to this. DUCKY: At least they know not to contaminate a crime scene. GIBBS: Hey, you two clean this up - bag him. Meet us up there. TONY: Well, it gives you a warm feeling, doesn't it? JACKSON: What? TONY: Knowing Gibbs trusts us with a contaminated crime scene. JACKSON: (LAUGHS) Come on, man. Let's get him out of here. CUT TO: EXT. PARKING LOT - DAY FULLER: This must be him. Special Agent Gibbs? GIBBS: Yeah. FULLER: Sergeant Linn radioed you were coming. Agent Ken Fuller, DEA. This is Captain Bradstone, Army C.I.D. GIBBS: Our M.E., Doctor Mallard. DUCKY: Agent Fuller. Captain. FULLER: Looks like your Navy man fell in with a bad crowd. DUCKY: Ah Gibbs, this scene is pristine. FULLER: We're not amateurs. GIBBS: Who says they're connected? FULLER: How many guys you know go out fishing in the middle of the night? GIBBS: Me. FULLER: Well, I guarantee you these two guys didn't. They meet up with cargo ships off the coast and bring in coke. GIBBS: Where's their boat? FULLER: There's a drug wr going on. I figured they got jacked for the boat and the coke. GIBBS: Captain, is C.I.D. working this crime scene? BRADSTONE: The M.E.'s not available till tomorrow. And since this may have something to do with your Navy Officer, the Army has no objection to NCIS and DEA working it. Just send us all your reports. GIBBS: Yep, thanks, Captain. Okay to touch, Duck? DUCKY: You have my permission. GIBBS: How many drug dealers you know dump the bodies and the cash?(GIBBS PULLS OUT CASH FROM BODY) MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY (ELEVATOR DOORS SLIDE OPEN) KATE: Thanks for waiting, guys. GIBBS: Chain of custody, Kate. You had to stay with the boat. KATE: I'm not stupid, Gibbs. GIBBS: Never said you were. KATE: I didn't have to ride on a tow truck with that boat, now did I? You do this to all the newbies or just the females. TONY: Do we look like sexists? KATE: Ask me who's buried in Grant's tomb. It's a tougher question. GIBBS: Okay, okay, fun's over. Give me the high lights. KATE: Nine students from U.V.A. were having a beach party. Around zero two thirty they heard what they first thought was fireworks out on the water. TONY: gn. KATE: Good guess, Tony. The Whaler had six holes in its stern, two in the engine housing. GIBBS: The Commander was running. KATE: Probably from a larger boat they heard racing up the coast. About fifteen seconds later, the Mary Celeste came roaring out of the dark and onto the beach. Scared the hell out of them. GIBBS: What'd you find on the boat? KATE: Fishing gear, bait, coffee Thermos, ham sandwich. I logged everything. Sent it to Abby. TONY: No drugs? KATE: No. Is there a drug connection? GIBBS: DEA thinks so. Two dealers floated ashore last night at Fort Story. Aerated. KATE: Well, there were no drugs on the Whaler. TONY: You sure? I knew a granny in Baltimore - hid a kilo of "H" in her horse's rectum. KATE: No horse on the boat, Tony. We're working a join investigation with the DEA? GIBBS: Yep. Ducky's got all three bodies autopsied and Abby's drying the money. KATE: Money? GIBBS: The dealers were found with fanny packs stuffed with wet Franklins. KATE: I've got to see those bills. GIBBS: Why? KATE: I did work for the Secret Service. We tend to get all hot and bothered over large sums of hundred dollar bills. TONY: Is that what does it for you? KATE: What does it for me, Tony, is a mystery that you will never solve. TONY: I know the answer. Grant! GIBBS: Why do I felt like a high school principal? TONY: I don't know, Boss. GIBBS: If those college kids are right, whoever sht the Commander ran into the Chesapeake or up the Maryland coast. Find out which. TONY: I'm on it. DUCKY: (V.O.) The South Pacific has a number of ... CUT TO: INT. NCIS AUTOPSY - DAY DUCKY: ... different refreshments. I remember one. Where was it, New Guinea or Timor? Whatever the case, the natives had this delightfully refreshing drink. It wasn't 'til years later I discovered it was made from a mixture of rum punch and water buffalo urine. To Abby, please, Gerald. They'd never seen a white man and my life was in jeopardy until... FULLER: (overlap)I've got to report in. (FULLER WALKS O.S.) DUCKY: There's a phone over there.(bat) Oh well. You'll enjoy this, Commander. As I was saying, my life was in jeopardy until I cured the chief's wife of a terrible yeast infection. CUT TO: INT. CORRIDOR - DAY FULLER: I can see why you don't talk much. JACKSON: I'm sorry....did you say something? FONTAINE: (V.O.) Commander Farrell, a Navy ROTC instructor at Hampton Roads... CUT TO: INT. NCIS SQUAD ROOM - DAY FONTAINE ON TV: (V.O.)...was found on North Virginia Beach this morning (ON TV) near the bodies of two alleged drug dealers. (V.O.) Commander Farrell, a founder of "Urban Lights" a night basketball anti-drug program, (ON TV) may have been involved in smuggling (V.O.) illegal drugs into the Norfolk area. Expressing shock and outrage, a Community Center spokesperson said the Urban Lights basketball program (ON CAMERA) will be suspended on all Norfolk Community courts... (TV CLICKS OFF) (MUSIC OUT) FADE IN: EXT. BASKETBALL COURT - NIGHT (SFX: BASKETBALL GAME B.G.) (GIBBS ATTEMPTS TO OPEN THE LOCK) KEVIN: You gonna kick our asses out? GIBBS: Nope. BOBBY: You Five-Oh, ain't you? GIBBS: Sorta. KEVIN: Sorta? Yeah, right. I smell bacon. GIBBS: Big fence to climb over. BOBBY: Not if you got hops. KEVIN: Whatchya want, One Time? GIBBS: Get this lock off the gate. You shouldn't have to hop a fence to play some basketball. KEVIN: You got heat to do something about it? GIBBS: Maybe you do. KEVIN: We did. (LAUGHTER) GIBBS: That you did. It'd be better with lights. Answer me one question. I get the right answer, you have my word these lights will get back on. BOBBY: sht, Five-Oh. KEVIN: Slow up, Bobby. What you mean...right answer? GIBBS: Give me the wrong answer, I can't help you. KEVIN: Get out of here, Fed! BOBBY: What you doing, Bro? KEVIN: He's a Narc, man. He's trying to get us to say Seadog was dealing. BOBBY: So tell the bacon what he wants to hear if it gets us our lights back. KEVIN: I ain't diming on Seadog! BOBBY: Man, he's six feet below. He won't know. KEVIN: I will. (GIBBS JUMPS THE FENCE) BOBBY: Man, you too old to hop wire. GIBBS: Want the question? KEVIN: I know the question. You're not going to like the answer. GIBBS: I will if it's the truth. KEVIN: Yeah, we could lie. How you gonna know, Fed? GIBBS: I'll know. MUSICAL BRIDGE TO: INT. NCIS LAB - DAY KATE: For the nineteen ninety to ninety six series, Treasury introduced micro printing as a countermeasure against computer printers and copiers. Good enough to stop high school kids, but not rogue countries and a few of the world's top forgers. It's got one tiny flaw. GIBBS: I'll be damned. TONY: What? KATE: You'd think a man who can find heroin in a horse's ass could find this. FULLER: You reached into a horse's ass? TONY: I had a glove on. (READS) United States. What's wrong with that? KATE: Read it again. TONY: Untied States! So the forger was dyslexic. KATE: Not just the forger. GIBBS: Who would pay drug runners with counterfeit money? FULLER: I know you don't want to hear this, Gibbs, but the Commander could have bought with bogus bills. That's why they klled him. GIBBS: Commander Farrell was not dealing drugs. Tony, where did you find that boat was headed when they dumped the two bodies? TONY: Well, according to the tide charts, since the bodies washed up at Fort Story, the boat had to have been entering the bay. KATE: Well that narrows it down. Even if we knew the marina, we still don't have a name or a description of the boat. GIBBS: Let's talk to someone who does. Can you pull in the boss of the dad drug runners? FULLER: Trujillo? Sure. For as long as it takes for him to get his lawyers down here. GIBBS: Bring in the dirtbag that runs the rival gng, too. FULLER: These aren't a couple of sailors caught buying grass. These are pros. They won't tell you the name of their mothers. GIBBS: No offense, but maybe you just don't use the right tone of voice with them. Bring 'em in. (FULLER WALKS O.S.) GIBBS: Is there anybody at your old agency you can trust? KATE: Trust to what? GIBBS: Find out who forged these notes and where they've been circulating. KATE: Shouldn't be a problem. GIBBS: Without telling their boss. (bat) Is that a problem? KATE: Gee, now why would that be a problem? (MUSIC OVER ACTION/ABBY SIGNS FROM THE LAB) (ABBY KNOCKS ON THE WINDOW) ABBY: (SIGNS) I got a match! GIBBS: (SIGNS) Great.(GIBBS AND ABBY CONTINUE SIGNING) TONY: What are you doing? GIBBS: Communicating. TONY: Abby signs? GIBBS: Yeah. Yeah, her parents were deaf. TONY: Where'd you learn? GIBBS: She just said that the A-K Forty Seven round that klled the Commander came from the same wapon that klled our two drug dealers. TONY: Yeah. Why didn't she just come out and say that? (DOOR OPENS) GIBBS: Hey, thank you. TONY: That was fun, Gibbs. You still got the touch. ABBY: (SIGNS) I've got more. GIBBS: Oh, she's got more. ABBY: I picked up GSR on the smuggler's hands. Their wapon were fired really recently. The Commander's was clean. (SFX: COMPUTER BEEP TONE) GIBBS: They said Seadog didn't deal. TONY: Seadog? ABBY: (SIGNS) I don't know. (GIBBS AND TONY RUSH TO THE ELEVATOR) (ELEVATOR DOORS SLIDE SHUT) TONY: Who's Seadog? GIBBS: Did you get that reporter's number or was that just talk? TONY: Gibbs... GIBBS: See if she's available for lunch. TONY: I'd love to. Can I expense it? GIBBS: No, but I will. TONY: How do you sign, "I should have known?" MUSICAL BRIDGE TO: EXT. RESTAURANT - DAY FONTAINE: You kick me off the beach and now you play the gentleman? You must want something real bad. GIBBS: Oh, yeah. Bubbles, okay? FONTAINE: Fine. GIBBS: The panini here reminds me of Naples. FONTAINE: No bread. I'm on TV, remember? GIBBS: So is it true the camera puts ten pounds on you? FONTAINE: Five in my case. What do you want, Agent Gibbs? GIBBS: Jethro. FONTAINE: You're kidding. GIBBS: No. Um... to have a nice lunch, to know you a little... FONTAINE: Ah, here it comes. GIBBS: ....to tell you a story. FONTAINE: (CHUCKLES) Jethro, Commander Farrell's old news. I'm onto fresher bodies. GIBBS: Aren't you interested in getting it right? FONTAINE: I am. My producer isn't. He's interested in ratings. GIBBS: At the price of a man's reputation? FONTAINE: I didn't report anything that wasn't told to me by the cops. GIBBS: You didn't dig deeper. FONTAINE: I couldn't. You threw me out. GIBBS: What if I let you in? MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY TONY: How was lunch? GIBBS: They here yet? TONY: Downstairs, waiting. (CHUCKLES) You're not going to tell me about lunch, are you? GIBBS: No. (TONY ATTEMPTS TO SIGN) GIBBS: You should wash your hands with soap for saying that. CUT TO: INT. AUTOPSY ROOM - DAY FULLER: Special Agent Gibbs. Frank Trujillo and Darryl Wilkins as requested. GIBBS: Over here. (SFX: DRAWERS SLIDE OPEN) GIBBS: Is that a glimmer of recognition I just saw? It seems these two belong to you. DARRYL: Good. I can slide, right? GIBBS: Not if you klled them. DARRYL: I never scuffed anyone in my life. GIBBS: I'm the only one not finding anything funny here, you know why? This Naval Commander didn't die a natural death or fighting for his country. He died in a cross-fre between you two dirtbags. FRANK: I want my lawyer. GIBBS: This was found on these two boys in the cooler. It's counterfeit. It comes from a foreign government known to support terrorism. That makes you two dirtbags suspected enemy combatants under the Patriot Act. Tony, read them their rights and put them on the first Navy transpo to Gitmo. TONY: You do not have the right to remain silent. You do not have the right to an attorney. (TONY CONTINUES B.G.) FULLER: Gibbs, we don't know who counterfeited that money. Even if it does come from a country friendly to trrorists, you can't send them to Gitmo. They're U.S. citizens. TONY: Do you understand these rights you don't have? GIBBS: Watch me. (MUSIC OUT) FADE IN: INT. SQUAD ROOM - DAY FULLER: (V.O.) Your bluff worked. Trujillo wants to talk. (ON CAMERA) He really believed you'd ship him off to Gitmo. GIBBS: The secret of a good bluff, Agent Fuller, is not to bluff. TRUJILLO: (V.O.) The two men on ice.... CUT TO: INT. AUTOPSY ROOM - DAY TRUJILLO: ...are brothers. Jesus and Carlos Garcia. They run two of my boats. Fishing's been poor lately because of poachers in my waters. DARRYL: Your waters? You own the oceans, Frank? TRUJILLO: So I kept my boats in port until our little dispute... could be settled. TONY: I could recommend a Federal mediator. (bat) Sorry. Couldn't resist. You were saying? TRUJILLO: Yesterday I learned that the Garcia brothers took one of my boats out Sunday night and never came back. GIBBS: Without asking you, Jefe? TRUJILLO: (IN SPANISH) Si. Sin mi permiso. (Yes, without my permission) DARRYL: (CHUCKLES) You ain't ballin' no more when your marks don't ask, Frank. TRUJILLO: Callete, tonto! Okay? (Shut up, stupid.) DARRYL: You can ride out that salsa spit, okay? GIBBS: You believe that, Darryl? DARRYL: There's no way he would come with real in front of my grille. TONY: Real in front of my grille? I've got to remember that. GIBBS: You know what that tells me? As far as you were concerned, that boat was Trujillo's, fishing in disputed waters. DARRYL: I wasn't hip to this till this narc dragged me down. Swear on my seeds, okay, we ain't whacked them. TRUJILLO: He's not lying to you. He didn't kll them. GIBBS: Hey, this is good, Tony. You've got two rival dirtbags vouching for each other. You think Garcia charted out Frank's boat to some sports fisherman from Iowa? TONY: Would they want to do anything illegal? GIBBS: No. No. They were probably hauling drug smugglers. TONY: Or illegals. GIBBS: Or run gn. Did we miss any potential charters? TRUJILLO: I've told you everything I know. Can I go now, (IN SPANISH) por favor? GIBBS: Yeah. Sure. Once we have the boat. Help me out here, Darryl. DARRYL: He's got GPS locators in all his boats. GIBBS: Now why didn't you tell us that, Frank? TRUJILLO: I like to handle my own problems. GIBBS: Not this time. This one is ours. TRUJILLO: May I use your phone? GIBBS: Yep. (SFX: TELEPHONE BEEP TONES) GIBBS: What's the name of the boat? MUSICAL BRIDGE TO: EXT. MARINA - DAY FULLER: Can Tony sniff for drugs now? TONY: Tony? FULLER: Some coincidence, huh? GIBBS: The deck's been hosed but there's blood residue. Get me some swabs, DiNozzo. I'll start in the cabin. TONY: Bet he's a real stud. FULLER: He's neutered. (MUSIC OVER CAMERA ANGLES OF BOAT CABIN) (INTERCUT VIOLENT shting SCENES IN CABIN AND FORWARD HATCH) (SFX: BOAT ENGINE STARTS) TONY: Oh, hell! What kind of engine is in this thing? FULLER: Drug runner special. A blown Five Oh Two putting out eight hundred horses. GIBBS: Main cabin's a mess. Blood stains. bllet holes. Found some bloody bandages on the bunks. One of them's hurting. FULLER: Can I search for drugs? GIBBS: We're just getting started. What you can do is check with the marina office. See if they paid a mooring fee. Strike out at that and start canvassing the marina and find out if somebody... FULLER: Gibbs, I'm a Federal Agent. I know who and what to ask. GIBBS: I keep forgetting you're not a dog walker. FULLER: Uh, that's very funny. Come on, Tony.(FULLER WHISTLES/DOG BARKS) TONY: Wow. They should have hosed down in here. GIBBS: They did just enough to avoid attracting attention of someone walking by. TONY: We're going to be bagging and tagging for hours. (INTERCUT FLASHBACK SCENE OF FARRELL'S BOAT FLEEING THE POWER BOAT) TONY: If I only had the time. GIBBS: (bat) What? TONY: You got the time? My watch is slow. GIBBS: You going somewhere DiNozzo? TONY: Yeah, back to work. MUSICAL DISSOLVE TO: EXT. PARK - DAY CARRUTHERS: Kaitlin! KATE: Glad you could make it, Marcie. I didn't go over to the dark side. CARRUTHERS: Sorry. So how's it feel not wearing a suit? KATE: I think a bit like Mom felt when she brned her bra. CARRUTHERS: Where'd you get those serial numbers, Kate? KATE: Uh... stumbled upon some bogus bills on a drug case. CARRUTHERS: The Navy Commander who was dealing to the kids in Urban Lights? KATE: Oh, we don't think he was, Marcy. CARRUTHERS: Teaches me to believe the news. NCIS have the bogus bills? KATE: Sixty five thousand worth of Franklins. Were you able to trace them? CARRUTHERS: Yes, we were. KATE: We?! CARRUTHERS: Sorry, Kate. You know better than to ask anyone to slip you info on something like this. We had to involve the FBI. FORNELL: Agent Todd. I see you've joined the cowboys. FULLER: (V.O.) Nothing from the marina office... CUT TO: EXT. MARINA - DAY FULLER: ...but Jenny and Nancy were very helpful. TONY: Jenny and Nancy? FULLER: The girls on the sloop over there. They're sailing that beauty all the way down the Intercoastal Waterway to Miami for her owner. TONY: All the way to Miami... GIBBS: They're going to be there by the time you tell me how they were helpful. FULLER: When they docked yesterday, there was someone on this boat. GIBBS: Did you get a description? FULLER: Late twenties. Glasses. Short hair. Gay or low on testosterone. They waved. He ignored them. TONY: No way. FULLER: That's what I said. GIBBS: What did they say? FULLER: They had a couple of cell phones. When he wasn't making calls, he was working a laptop. About one, Jenny started grilling some prawns. By the way, they're Aussies. TONY: Aussies! I love Auss-(bat) ...so Jenny was grilling prawns? FULLER: Saw a white van pull up here. The guy with the glasses was really excited to see the driver. She said they hugged a lot. TONY: Gay. GIBBS: They describe the driver? FULLER: Same look as glasses without the glasses. They brought some heavy suitcases from the boat to the van. Then they helped a third guy with a bandaged leg to the van. He must have been in the cabin the whole time. Then they drove off. GIBBS: Any more on the van, other than the color? FULLER: Nope. I tried. All they could remember was that it was white. (bat) Can Tony sniff the boat now? GIBBS: It's all yours. (SFX: DOG BARKS) FULLER: It sure is. TONY: What's that? FULLER: Asset forfeiture notice. TONY: Don't you have to find drugs first? FULLER: I used to worry about rules like that. Then I met you guys. (TO DOG) Come on. Come on. Good boy. TONY: I'm telling you, boss, Aussie chicks are definitely different from American chicks. A guy's even got to approach them differently. I'd have got more than the color of the van out of them. GIBBS: I know I'm going to regret this, DiNozzo. Follow up on Fuller's interview. CUT TO: INT. NCIS SQUAD ROOM - DAY GIBBS: Hey, get anything from your friend? KATE: Yep. GIBBS: You disappoint me, Kate. FORNELL: Me too, Gibbs. I thought she knew better than to trade down. Oh. Is this yours? GIBBS: You need to seriously re-think your definition of the word "friend." KATE: If I were in Marcy's shoes, I would have done the same thing. FORNELL: Careful, Agent Todd. You're running out of job options. GIBBS: So I once again have the pleasure of your company, Agent Fornell. We're into more than phony Franklins and dad drug dealers. FORNELL: Much more. Those serial numbers match the batch of bogus bills passed by Nine Eleven hijackers. Your Kllers aren't drug dealers, they're trrorists. (MUSIC OUT) INT. NCIS MTAC ROOM FBI DIRECTOR: (ON SCREEN) Since Nine Eleven, the Bureau has compiled a worldwide trror1st database incorporating files from over seventy foreign intelligence services. Any prints lifted from that boat that are left by known trrorists will get a ht. MORROW: Why didn't we have access to this database, Charlie? FBI DIRECTOR: (ON SCREEN) All you had to do was ask, Tom. MORROW: If your Agent Fornell hadn't been here to get us priority, my feeling is I'd still be asking. FBI DIRECTOR: (ON SCREEN) Perhaps I should leave him there. MORROW: I don't think that's necessary, Charlie. Just hard-wire us into this trror1st database. FBI DIRECTOR: (ON SCREEN) Sorry, Tom. We like to monitor who is accessing our data. MORROW: Hard to keep a list like this to yourself, Charlie. I'm sure when our colleagues who head the other agencies hear of this, they're going to be pounding on your door. FBI DIRECTOR: (ON SCREEN) Oh hell, why not? We're all on the same team. But Tom, if any of our colleagues hear about this, I'll pull your plug and NCIS priority will follow the Sandusky, Ohio fre Department. MORROW: Understood. Thanks, Charlie. (TO GIBBS) Good luck. FORNELL: I see where you cowboys get your chutzpah. GIBBS: How long to scan the entire database?(PHOTOS FLICK ON SCREEN) FORNELL: I don't know. No one's ever done it. MUSICAL BRIDGE TO: EXT. YACHT - DAY TONY: Nothing like a shrimp on the barby. JENNY: Only a Yank would call it shrimp. They're prawns. TONY: They're prawns. NANCY: Sounds like a real Okker, doesn't he, Jen? JENNY: I reckon. TONY: Okker? JENNY: The ridgy-didge. TONY: I need a translator. NANCY: You get the drift. Aren't you drinking, Tony? TONY: I'd love to but uh... I'm on duty. Pretend I'm not here. I know it's hard. You were sipping wine and grilling shh - prawns when the van showed up. NANCY: This is silly. TONY: Reenacting can jog your memory. Especially your sense of smell. JENNY: Come on, Nance. Give it a go. We put the prawns on the barby. NANCY: We toasted. Cheers! (INTERCUT FLASHBACK SCENES OF THE trrorists AND THE WHITE VAN) MUSICAL BRIDGE TO: INT. MTAC ROOM - DAY GIBBS: You know him? KATE: No. FORNELL: His name is Saudi. Same as most of the Nine Eleven hijackers. GIBBS: What's the red star? FORNELL: Active case with a high priority. He's one of the foreign trrorists wanted for the U.N. bmb in Baghdad. Believed to have slipped out of Iraq through Syria three weeks ago. Whereabouts unknown. GIBBS: Not anymore. TONY: (V.O.) It works! (ON CAMERA) I had Jenny and Nancy grill some prawns. They don't call them shrimp in Australia. Sip a really nice chardonnay with a wonderful bouquet. I didn't drink... just sniffed. FORNELL: What the hell is he ranting about? GIBBS: I should have known better. TONY: No no no, boss! I had the girls do exactly what they were doing when the white panel van pulled in to jog their memory. It worked! They remembered the driver was wearing a company uniform. KATE: Water company? Phone company? GIBBS: Jefferson Power? Vantage Cable? FORNELL: Milkman. Breadman. Hell, that white van could be from any of a hundred different commercial, county or state outfits. GIBBS: It's a start. TONY: I'm not done! I pulled this videotape from the security camera at the Mobil station on the road out of the marina. KATE: Wow, that's really smart, Tony. TONY: Any guy could have done it. KATE: Guy? Learn to shut up when you're ahead. GIBBS: What time did the girls say they saw the van? TONY: Ah, around thirteen hundred. ABBY: Are we submitting to the Sundance Film Festival? TONY: Best trror1st film category. ABBY: Sweet. So, if anyone's interested. The only prints off the boat I did match were the druggies in the cooler. GIBBS: Not the Commander? ABBY: Negatory. KATE: We've got a match on a trror1st. TONY: You didn't tell me that. KATE: Who could get a word in? ABBY: I ran those prints through the Bureau. I got nada. GIBBS: You did not have access to the full database. ABBY: You're holding out on us. That is not nice. GIBBS: Whoa! There it is! TONY: Yep. GIBBS: Run it back. Jefferson Power. God damn it. Can anybody read that number? TONY: Eight three one. KATE: They've got to be going after the power grid. ABBY: I found traces of C-Four in the stuff you bagged on the boat. FORNELL: Thank god. They're just going to try to blow something up. We've been sweating trrorists hacking into our power grid distribution software. That could shut down half the country. C-Four indicates a hard target... a power plant, a which are all under tight security. Which is about to get a hell of a lot tighter. GIBBS: There's a good chance that driver works for Jefferson Power. FORNELL: I hope he does. We'll have him before sundown. (INTO PHONE) trror1st alert. APB on Jefferson Power Company van number eight three one. I want to know where it's based, who is driving it and I want it in five minutes. (TO GIBBS/KATE AND TONY) Thanks. You've all done a terrific job. TONY: I feel like I just kissed my sister. ABBY: I didn't know you had a sister, Tony. TONY: I don't. I'm fantasizing. ABBY: I need music to do that. GIBBS: Fornell's got target fixation. KATE: Come again. TONY: It's when a fighter pilot gets so fixed on his target that he flies right into it. KATE: Ah. Like you and women? GIBBS: That August blackout was caused by a tree falling on some power lines, right? KATE: Something like that. GIBBS: Ah hell, these guys don't need C-Four. An ax will do! KATE: Okay, here's the timeline for the August fifteen blackout. GIBBS: Put it on the plasma, Kate. KATE: It started at Eastlake, Ohio, at fourteen hundred, and by the time it reached Indian Point in Buchanon, New York, all the Northeast and most of Canada was dark. GIBBS: Pull the state's power grid up off the Internet. KATE: Whoa! Look at this! TONY: It says three key failures in Virginia could cascade until every state from here to the Rockies is dark. KATE: Yeah, more than says. It shows how! Wait. Take down those three flashing nodes simultaneously and you take out the entire Eastern Power Grid. GIBBS: All we have to do is stop them from taking out one? KATE: It looks that way. I mean, if any two fail at the same time, the slack can be picked up. There will be blackouts, but it won't cascade. TONY: Well, which one do we go for? GIBBS: Closest one. Right here. MUSICAL BRIDGE TO: INT. CAR - MOVING KATE: Agent Fornell is concentrating agents on the three key nodes. He's also emailed me the driver's photo. GIBBS: That was fast. TONY: They had the van number. KATE: Here. Take a look. GIBBS: It's an alias. What's he do? KATE: Power line inspector. GIBBS: Is there a node at the end of that transmission line? KATE: Yes, about a mile west. GIBBS: Take that road! (SFX: CAR TIRES SCREECH) (MUSIC OVER ACTION/CAR CRASHES THROUGH THE CHAIN LINK GATE) TONY: Didn't think you'd want me to stop to open the gate. GIBBS: Hell no! They don't have to blow the nodes. This guy knows where to take down three transmission towers that'll do the same thing. KATE: How do we know this line is one of them? GIBBS: It crosses the node, doesn't it? KATE: Two lines cross this node, in and out. That's four places within a mile of the node that he can blow the tower down. GIBBS: Maybe we'll get lucky. KATE: Nobody's that lucky. GIBBS: Hmm. We are. CUT TO: EXT. TOWER - DAY (SHAKIR SHOUTS INTO THE PHONE) CUT TO: INT. CAR - MOVING KATE: He could be a power company employee doing his job. (MUSIC OVER ACTION/SHAKIR FIRES AT THE CAR) (MUSIC OVER ACTION) (SFX: RAPID gn) (SHAKIR SHOUTS B.G.) GIBBS: No, I don't think so! (CAR BRAKES TO A STOP) (SFX: gn CONTINUES) GIBBS: Freeze! (SFX: gn) (MUSIC OVER ACTION/KATE TONY AND GIBBS RUSH TO THE TOWER) GIBBS: The phone's got detonators! KATE: Looks like the other two must have the same setup. Looks like he's got all three numbers set to the same number. GIBBS: How many members did he dial? KATE: Six. TONY: One more and it's budda bing, budda boom. GIBBS: Lucky he wasn't phone-savvy. KATE: Savvy enough to wire three phones to the same number. GIBBS: Yeah. What if he used speed-dial? MUSICAL BRIDGE TO: EXT. BASKETBALL COURT - NIGHT (SFX: BASKETBALL GAME B.G.) FONTAINE: FONTAINE: (INTO MICROPHONE) The lights are back on tonight at Community Center courts since Navy Commander Brian Farrell, founder of "Urban Lights," was cleared today of any connection to the drug w*r which claimed his life last Sunday. (CONT.) A Community Center spokesperson issued an apology and announced that a commemorative plaque will be dedicated to the memory of "Seadog", as Commander Farrell was affectionately called by the young men he strived to help have a better life. This is Diane Fontaine, WXEK News. Now back to you. (TO CAMERA PERSON) Doug, I need some B-roll on the boys. (VOICES SHOUT B.G.) (FONTAINE WALKS TO GIBBS) FONTAINE: How was that? GIBBS: Very nice. FONTAINE: I can't guarantee that my producer will air it. GIBBS: You're trying. That's a start. Thank you, Diane. FONTAINE: You're welcome, Jethro. (MUSIC OVER ACTION/GIBBS CLIMBS INTO THE CAR) (MUSIC OUT) (MUSIC UP OVER ENDING TITLE AND CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x03 - Seadog"}	foreverdreaming
MUSIC IN: EXT. BOAT - DAY (SFX: SHOUTING B.G.) BRAD: (SHOUTS) Yeeeahaaah! Whoo! LISA: Take it easy. BRAD: Come on! KYLE: Dude, did you hear the guy at the hotel this morning? They spotted Mako sharks. BRAD: Please, they go after seals, not this hard body. LISA: Brad, this isn't a joke. BRAD: The odds of a shark attck against humans is about ten thousand to one. I saw it on the Discovery Channel. KYLE: I don't know, bro'. BRAD: Fine. You girls stay up here where it's safe. I'm gonna get up close and personal with the coral reef. (BRAD JUMPS OVER THE RAILING INTO THE WATER) (SFX: SPLASH) CUT TO: EXT. UNDERWATER (MUSIC OVER ACTION/BRAD SWIMMING) (SFX: UNDERWATER SHOUT) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. NCIS SQUAD ROOM - DAY GIBBS: The body was in the water less than twenty-four hours. NAS Key West tagged and bagged and shipped it over. TONY: We have an I.D.? GIBBS: Seaman Russell MacDonald. Nineteen. Assigned to the USS Foster. KATE: Destroyer. Spruance Class. GIBBS: Hey, look at that! New kid on the block's been doing her homework. "The Immortals" GIBBS: USS Foster left Roosevelt Roads Naval Station two days ago en route to Norfolk. This is her position now. The body was found here, in the Bahamas. TONY: Roosevelt Roads? GIBBS: Yeah. TONY: That's Puerto Rico. GIBBS: Yeah. TONY: I love Puerto Rico. GIBBS: I'm glad. TONY: No boss, you don't understand. I love Puerto Rico! KATE: You been there a lot? TONY: No! No, that's just it. I've never been there! I mean, I'm so wanting to go ever since I was a kid! I'm so wanting ... sorry. I just always... GIBBS: ... wanted to be there. TONY: Yeah. GIBBS: Sometime night before last, Seaman MacDonald went overboard. KATE: Anyone see or hear anything? GIBBS: No. Didn't know he was missing until he failed to report for duty. KATE: Anything in the medical? GIBBS: We'll get all that when we get onboard. Anything else unusual? CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: This is exactly how he was found. TONY: Dress Whites? Why? GIBBS: No one knows. There were no formal events scheduled. KATE: The sword? GIBBS: Officer's ceremonial. TONY: Our man's enlisted. GIBBS: Yeah. Doesn't make much sense, does it? DUCKY: Here's something else for the mystery tour. This so-called ceremonial sword is sharp enough to slit someone's throat. Do you know why they drive on the left hand side of the road in England? Dates back to medieval times. Most people were, and still are, right handed. It allowed them to slash at one another when passing on horseback. Ha! Now why, you might ask, doesn't this hold true for the rest of Europe? KATE: Why the chain on the waist? DUCKY: Ah... these.... (DUCKY LIFTS WEIGHTS) DUCKY: ...these were attached to it...each twenty five pounds. Now whether he put them on himself or someone did it for him, that much weight sent him down fast. Well, if you'll excuse me, I'll get our poor seaman out of his wet clothes. TONY: You're not going to say, 'and into a dry martini," are you? DUCKY: No. No, we'll save that for later... for me, I'm afraid. MUSICAL BRIDGE TO: INT. NCIS SQUAD ROOM - DAY GIBBS: The Seaman was local. Address is in the file. You don't have to do the dirty deed. CACO already notified next of kin. TONY: Why me, Boss? Wouldn't a woman be more sympathetic? GIBBS: That's why Kate is going with you. KATE: I'm sure Tony can handle it alone. GIBBS: When did an order turn into a debate? CUT TO: EXT. MACDONALD HOUSE - DAY (CAR DOORS OPEN/CLOSE) TONY: I hate this. I really do. KATE: Going to be that tough? TONY: You have no idea. KATE: No, I don't. (bat) Tony? TONY: Yeah. KATE: Take a breath. Think of Puerto Rico. TONY: Good idea. MUSICAL BRIDGE TO: INT. MACDONALD'S - DAY KATE: According to what's been reported, Russell didn't seem to have a lot of friends on the destroyer. MACDONALD: Oh no, he had many friends on the ship. He told me so in his letters. TONY: Was the sword Russell's? MACDONALD: It was my husband's. He was Scottish. He served in the Black Watch Regiment. KATE: Russell's file says he's deceased. MACDONALD: He was klled in a car accident when Russell was twelve. Russell was devastated. KATE: Did Russell seem particularly obsessed with the sword? MACDONALD: Um... I don't understand why you... TONY: A similar wapon was found with the... near Russell. KATE: Mrs. MacDonald, in Russell's letters did he seem, you know, down or depressed? MACDONALD: Russell had his quirks. But a mother knows things about her son. He would not have klled himself! It's a mortal sin. ` MUSICAL BRIDGE TO: EXT. MACDONALD HOUSE - DAY KATE: Are these interviews always that difficult? TONY: I guess. KATE: You guess? TONY: I've never interviewed a victim's mother before. KATE: Well, I thought you'd been a Baltimore homicide cop. TONY: I always had someone else interview the mother. KATE: This was your first? TONY: Yeah. KATE: Why did you assume I'd have no idea how bad it was going to be? TONY: I didn't think you would. KATE: That is so presumptuous! TONY: Kate. KATE: What? TONY: Breathe. MUSICAL BRIDGE TO: EXT. USS FOSTER DECK - DAY MORRIS: The Commander's on a call with LANT fleet, Sir. He'll catch up with you as soon as he can. GIBBS: We appreciate it, Master Chief. TONY: Did you have any contact with Seaman MacDonald? MORRIS: Can't say I did, Sir. Kept pretty much to himself. GIBBS: Seems to be the general consensus. Or the party line. CUT TO: INT. PASSAGEWAY - DAY MORRIS: We've got you set up in the XO's quarters. It's small, but it's private and secure. GIBBS: I'm sure it'll be fine.(KNOCK ON DOOR) CUT TO: INT. STATEROOM - DAY ROBBINS: Enter. (KNOCK ON DOOR) (DOOR OPENS) MORRIS: Lieutenant Commander Robbins, Agent Gibbs. GIBBS: Appreciate you giving up your... ROBBINS: Not a problem. MORRIS: NCIS is always welcome aboard, Sir. You can expect excellent cooperation. GIBBS: I appreciate that, Master Chief. MORRIS: If you need anything... GIBBS: Oh, I won't hesitate. (DOOR CLOSES) KATE: Now why didn't that sound sincere? GIBBS: Ah, you get used to it. They either stonewall or kiss ass. To them we're the Internal Affairs of the Navy. KATE: So basically they hate us. TONY: No. (bat) Pretty much. GIBBS: Set up the laptop and establish a feed from NCIS. TONY: I'm on it. KATE: We're not all sleeping here, are we? Together? GIBBS: I'll take the couch. MUSICAL BRIDGE TO: INT. ENLISTED QUARTERS - DAY GIBBS: Afternoon, gentlemen. CARNAHAN: Afternoon, Sir. GIBBS: Okay, let's dispense with the small talk. Which one is his bunk.... Petty Officer Carnahan? CARNAHAN: Below mine, Sir. GIBBS: Thank you, Petty Officer. Did you know MacDonald? CARNAHAN: Not well. He pretty much kept to himself. GIBBS: (OVERLAP) ...kept to himself. Did he like to llisten to music? Like to read? CARNAHAN: I really didn't notice, Sir. GIBBS: Your bunk is right above his, but you didn't notice? CARNAHAN: I'm a private kind of person. GIBBS: Well, if you had to venture a wild guess, Carnahan, what do you think MacDonald liked to do? CARNAHAN: Spend his life at work. YOUNG: (V.O.) Computers run the wapon systems... CUT TO: INT. BRIG - DAY YOUNG: ...the radar, the sonar. We're the backbone of the ship here, Agent DiNozzo. TONY: The brightest of the brightest under your command. YOUNG: I like to think so. TONY: Where was Seaman MacDonald in the food chain? YOUNG: He was good. TONY: How good? YOUNG: That depends on what you're comparing him to. TONY: All right, compared to you. YOUNG: I trained at MIT. MacDonald was a year out of high school. TONY: The best I.T. guy in our office is twenty-two. Harvard. When he gets stuck, he calls his fourteen year old nephew. YOUNG: MacDonald was very good. TONY: How very? YOUNG: When he was focused, better than anyone here. TONY: Including you? YOUNG: (bat) Including me. TONY: Had he been focused lately? YOUNG: No. Hadn't for a long time. TONY: You think he off-ed himself, Lieutenant? YOUNG: It's possible. He was troubled. There was definitely something bothering him. CUT TO: INT. SICKBAY - DAY CARUSO: He was having a hard time adjusting to ship life. I suggested he get into counseling. KATE: Was he receptive? CARUSO: No, Ma'am. He just wanted to talk to me. KATE: What were his issues? CARUSO: I wouldn't get into them. It was obvious that Seaman MacDonald was disturbed, but I wasn't qualified, Ma'am. KATE: But you did talk to him. CARUSO: As his Medical Corpsman, not his psychologist. All I know is that he had this mysterious friend. He was from here, but he wasn't here. It didn't make any sense. But he seemed obsessed with him. KATE: Do you think that Russell MacDonald was capable of taking his own life? Off the record. CARUSO: Definitely not! CUT TO: INT. ENLISTED QUARTERS - DAY (GIBBS SEARCHES THE BUNK) TONY: (V.O.) So here's what we've got. CUT TO: EXT. USS FOSTER - DECK TONY: A dad kid wearing dress whites for no reason, with a sword he shouldn't have on, which is not supposed to be sharp, at the bottom of the ocean, with weights on. KATE: He was a brilliant but troubled computer tech, who lived at work, and had a mysterious friend. GIBBS: Okay, so given the circumstances, probably not an accidental death. So... su1c1de or mrder? TONY: The C.O. suggests he could have klled himself. KATE: The Corpsman he confided in and his mother are adamant he never would have. GIBBS: Something else to consider. I found this in Seaman MacDonald's rack. You know that razor sharp sword he was wearing? He was teaching himself how to use it. (MUSIC OUT) MUSIC IN: INT. OFFICER'S QUARTERS - DAY ABBY: (V.O./FILTERED) We found a couple more things on MacDonald's body. Um... he was wearing this around his neck. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) Just your average Saint Christopher medal. But here's what's really odd. He had this in his pocket. My guess is it's some sort of character charter for a (SCENE CUT) ABBY: (V.O./FILTERED) ...fantasy game. TONY: (INTO PHONE) What kind of game? ABBY: (V.O./FILTERED) It looks like (SPELLS) M.M.O.R.P.G. TONY: (INTO PHONE) M.M what? ABBY: (V.O./FILTERED) M.M.O.R.P.G: (SCENE CUT) ABBY: (INTO PHONE) It's a Massive Multi-player Online Role Playing Game. They're huge on the internet. (SCENE CUT) GIBBS: (INTO PHONE) And a character charter would be what? ABBY: (V.O./FILTERED) It's like a character's manifesto. (SCENE CUT) ABBY: (INTO PHONE) His goals, moral stance, creed. (SCENE CUT) GIBBS: (INTO PHONE) You're kidding me. ABBY: (V.O./FILTERED) No, they really get into this stuff. There can be like thousands of players on one site alone. GIBBS: (INTO PHONE) Well, that's comforting to know that Russell's computer skills were put to good use on a billion dollar ship.` ABBY: (V.O./FILTERED) Oh, he's a... (SCENE CUT) ABBY: (INTO PHONE) ...computer geek? (SCENE CUT) TONY: (INTO PHONE) Yeah, worked in the Combat Information Center. ABBY: (V.O./FILTERED) That is a perfect gig for a power gamer. (SCENE CUT) ABBY: (INTO PHONE) I mean, he was working on combat, it was just more like the medieval kind. (SCENE CUT) GIBBS: (INTO PHONE) Abby, are games like this violent? (SCENE CUT) ABBY: (INTO PHONE) Well, there's poisoning, thievery, (V.O./FILTERED) sab, decapitations, (INTO PHONE) the occasional garrote. TONY: (INTO PHONE) I'd say that's violent. GIBBS: (INTO PHONE) What should we look for on his hard drive? ABBY: (FILTERED) If he's good, he won't leave any footprints. GIBBS: (INTO PHONE) So where's the evidence if there is evidence? (SCENE CUT) KATE: (INTO PHONE) Cyberspace. ABBY: (V.O./FILTERED) Theoretically. GIBBS: (INTO PHONE) Can you find it? ABBY: (V.O./FILTERED) Maybe. These gaming sites are run by... (SCENE CUT) ABBY: (INTO PHONE)...anonymous server clients in every country on the planet. (SCENE CUT) KATE: (INTO PHONE) MacDonald's file didn't show any foreign language skills, you're probably looking for something run in English. ABBY: (V.O./FILTERED) That's good. TONY: (INTO PHONE) The machines are state of the art. Think government excess. ABBY: (FILTERED) Well, that'll eliminate the weekenders, and the lo-fi guys. I mean, I'll give it a sht, you know. Oh, the sword. GIBBS: (INTO PHONE) What about it? (SCENE CUT) ABBY: (INTO PHONE) The blade has nicks in it. Contact with hard metal. (SCENE CUT) TONY: (INTO PHONE) Another sword? (SCENE CUT) ABBY: (INTO PHONE) It's possible. (SCENE CUT) GIBBS: (INTO PHONE) Two sailors playing with sharp swords. KATE: Once in a while you might miss. I'm on it. GIBBS: (INTO PHONE) Abby, have fun with your M.M.R.O.P.G. (END TELEPHONE INTERCUTS) (DOOR CLOSES) GIBBS: What? TONY: M.M.O.R.P.G. GIBBS: Thank you. TONY: You're welcome. GIBBS: Can I talk to Ducky now? TONY: Yeah. (BEGIN TELEPHONE INTERCUTS) TONY: (INTO PHONE) Ah! (SCENE CUT) TONY: (V.O./FILTERED) You might want to warn us about what... (SCENE CUT) TONY: (INTO PHONE) ...what you're working on after lunch, Ducky. DUCKY: (V.O./FILTERED) Yes, I suppose... (SCENE CUT) DUCKY: (INTO PHONE) ...gazing directly into an exposed digestive system doesn't aid the actual process. TONY: (V.O./FILTERED) Not after the meal we just had. (SCENE CUT) DUCKY: (INTO PHONE) Yes, I'm sorry about that, my friend, but sometimes gaining valuable insight requires suffering small indignities. I recall one case, a young woman, not much older than yourself. She ingested... (SCENE CUT) DUCKY: (V.O./FILTERED) ....a small piece of jewelry... GIBBS: (INTO PHONE) Ducky? DUCKY: (V.O./FILTERED) Yes? GIBBS: (INTO PHONE) What have we got? (SCENE CUT) DUCKY: (INTO PHONE) Oh, uh... anoxia, sea water in the stomach, foam in the trachea. (SCENE CUT) TONY: (INTO PHONE) Classic death by drowning. DUCKY: (V.O./FILTERED) A slight hemorrhaging of the... (SCENE CUT) DUCKY: (INTO PHONE)... inner ear, possibly caused by the rapid shift in pressure. (SCENE CUT) GIBBS: (INTO PHONE) Because he sank so fast. DUCKY: (V.O./FILTERED) That's correct. (SCENE CUT) DUCKY: (INTO PHONE) Ah, then here we have dirt. (SCENE CUT) DUCKY: (V.O./FILTERED) Yes, his fingers grabbed whatever he was touching when he succumbed. There's a good chance Abby will deduce the dirt came from the ocean floor. TONY: (INTO PHONE) Which means? DUCKY: (V.O./FILTERED) Seaman... (SCENE CUT) DUCKY: (INTO PHONE) ...MacDonald was alive when he went into the sea. (END TELEPHONE INTERCUTS) CUT TO: INT. WARDROOM - DAY ENSIGN RAY: Stainless steel blade, acid-edged and hand polished. Fittings, guard and pommel are twenty four carat gold plated. As late as the eighteen hundreds. A sword like this would have been used to defend against the enemy trying to board a ship. Only the blade would have been sharp enough to take a man's limb off. I always liked pirate movies. Didn't you? TONY: Not really. ENSIGN RAY: Of course, today it wouldn't stand much of a chance against a nine millimeter H and K-M-P five parabellum, would it? TONY: Guess you like gn movies, too? ENSIGN RAY: I like all wapon, Sir. TONY: I can really appreciate that, Ensign. Are all the officers' ceremonial swords accounted for? ENSIGN RAY: Yes, Sir. I checked with thirty two officers, found thirty two swords....including my beauty. TONY: We're going to need to take a look at all of them. ENSIGN RAY: Yes, Sir. TONY: So where do you think MacDonald could have acquired the sword? ENSIGN RAY: At the only place that would have sold them. The base exchange. TONY: Roosevelt Roads Naval Station? ENSIGN RAY: Yes, Sir. If a clerk was lax in checking I.D., he might might have bought one as a souvenir. But he'd have to hide it onboard. TONY: Why's that? ENSIGN RAY: Enlisted me aren't allowed to carry wapon on ship. That'd be insane. CUT TO: INT. BRIDGE - DAY RIVERS: We're taking care of you, I trust. GIBBS: Very nicely, Skipper. RIVERS: I didn't know the boy very well. GIBBS: No one did, it seems. RIVERS: He was doing some maintenance work on my computer last week. He seemed to be in a bit of a daze. So I had a Corpsman administer a drug test. He was clean. GIBBS: The toxicology test we gave him came up negative. RIVERS: What do you make of the uniform, the sword and all? GIBBS: I'm not sure. But we think he was involved in an online fantasy game. RIVERS: Like an M.M.O.R.P.G? GIBBS: Yeah. RIVERS: My children play. A lot. GIBBS: We think he might have taken it a step further and staged real fights with someone on board. RIVERS: On board? How would that be possible? GIBBS: Well, Skipper, I'm sure you know the ship better than anyone else under your command. RIVERS: Inside and out, Agent Gibbs. GIBBS: So if you wanted to stage a sword fight with another shipmate and not get caught? RIVERS: Damage Control in the Machine Shop at night. CUT TO: INT. LAB - DAY (MUSIC OVER ACTION/ABBY PLAYS THE COMPUTER GAME B.G.) ABBY: Damn! Not the King's guards again. Okay, I'm turning left into the dungeon and I spy a... great staff of power! Oh, kick their asses! I've already surpassed the third level of the fortress and made it into the dungeon corridor of the castle's inner stronghold. After, of course, slaying two gnomes, a drunken dwarf, and a frenzied ogre.(SFX: COMPUTER wapon fre B.G.) DUCKY: Of course. You know, this reminds of something. Actually, I can't think of a thing it reminds me of. CUT TO: INT. SICK BAY - DAY CARUSO: The night Seaman MacDonald died there were three laceration injuries. Two were work related, verified by their Division Officers. KATE: The other? CARUSO: A prank gone wrong in front of seven witnesses. It didn't involve a sword. KATE: Well, there have to be injuries that don't have witnesses. CARUSO: All the time, Ma'am. Mostly after a liberty call. A surprising number of shaving cuts. KATE: Chief, it would be helpful if I could get some of the files of any of the questionable lacerations. CARUSO: Going back how far, Ma'am? KATE: A couple of months? CARUSO: I'll need a couple of hours. KATE: I like the symmetry. (bat) MacDonald's mystery friend... did he ever mention being afraid of him? CARUSO: He only talked about him once. It was more like Seaman MacDonald was in awe of him. CUT TO: INT. LAB - DAY ABBY: You're a prince, Ducky.(SFX: COMPUTER GAME B.G.) DUCKY: Is that a safe occupation in this... what is this game you're playing? ABBY: The Immortals. And being a prince is pretty safe unless the Elf Sorceress invde the King's Apartments and turns you into an ogre. Whoa! Whoa! Just dodged a flaming arrow! DUCKY: Well done. ABBY: I'm almost there, Ducky. DUCKY: Where exactly is "there?" ABBY: The innermost stronghold of the castle. DUCKY: Ah, The Keep. ABBY: Yeah, see? You're catching on! DUCKY: Not really. ABBY: Remember the character charter I found in the dad seaman's uniform? DUCKY: The booklet? ABBY: The booklet contained his character's name, "Weylin", and his creed. I just don't know if he was playing "The Immortals" or some other online game. DUCKY: Um...that's what you're trying to find out? ABBY: Yeah, if I can get into "The Keep" I can open a log of all characters that have played "The Immortals". DUCKY: What's that coming towards you? ABBY: Oh, it's an Orc! (SFX: SWORD FIGHT B.G.) ABBY: Oh! I just got dismembered! Now I have to infiltrate the castle again. DUCKY: Would this help, my dear? ABBY: Oh, yes. CUT TO: EXT. USS FOSTER DECK - DAY TONY: Gibbs, good guess MacDonald got his sword at Roosevelt Roads. If he was sword fighting with someone, they probably bought it there, too. (SFX: PHONE RINGS) (BEGIN TELEPHONE INTERCUTS) GIBBS: (INTO PHONE) Yeah? (SCENE CUT) ABBY: (INTO PHONE) I found the site MacDonald frequented. He was playing this character, Weylin. (SCENE CUT) GIBBS: (INTO PHONE) Like the singer? (SCENE CUT) ABBY: (INTO PHONE) More like the mystical half elf warrior Weylin. Spelled W.E.Y.L.I.N. (SCENE CUT) ABBY: (V.O./FILTERED) That charter we found on MacDonald's body... (SCENE CUT) ABBY: (INTO PHONE) ...it referred to his mail rival, Kinvaras. Their main mode of combat was parle. (SCENE CUT) GIBBS: (INTO PHONE) Abby? (SCENE CUT) ABBY: (INTO PHONE) Sword fight. Oh, and here's the big one. (SCENE CUT) GIBBS: (INTO PHONE) Fine, whoop me. (SCENE CUT) ABBY: (INTO PHONE) The guy who plays Kinvaras logs on from the Foster. (SCENE CUT) ABBY: (V.O./FILTERED) The same ship you're on. (END TELEPHONE INTERCUTS) (MUSIC OUT) FADE IN: EXT. WEATHERDECK - DAY (DOOR OPENS) GIBBS: Who would have thought that Pong would turn into online role playing games? TONY: Pong? GIBBS: Yeah, the first video game. What are the odds of Seaman MacDonald's character... TONY: Weylin.. GIBBS: ...fighting online in... TONY: The Immortals... GIBBS: ...another seaman's character.... TONY: Uh... Kinvaras? GIBBS: ...and both of them are on the same destroyer? TONY: About the same as Seaman MacDonald being found at the bottom of the sea with chains around his waist. GIBBS: Sounds like something that should happen in the game. TONY: Beheading is more likely. GIBBS: Why do they use such weird names? TONY: When you're a computer geek invading dungeons and fighting ogres, Jethro doesn't cut it. (bat) Neither does Tony. (VOICE OVER P.A. B.G.) CUT TO: INT. PASSAGEWAY - DAY GIBBS: Seaman MacDonald bought an officers' sword and was teaching himself how to use it. I think he found out who else onboard was role-playing.... TONY: Kinvaras. GIBBS: ...and decided to take it to the next level. Reality. TONY: Well, Boss, if they both had to have swords, chances are they bought them at the Navy Exchange in Puerto Rico. I could helo there, make an undercover purchase of a sword, bust the clerk, swap the bust for info on who bought the swords for the ship. I'll be there and back in twenty four hours. GIBBS: Six. TONY: Twelve. GIBBS: This is not a negotiation, DiNozzo. TONY: Six.(DINOZZO TRIPS OVER THE KNEE KNOCKER) MUSICAL BRIDGE TO: EXT. USS FOSTER - DAY (MUSIC OVER ACTION/COD TAKES OFF) MUSICAL BRIDGE TO: INT. LAB - DAY (MUSIC OVER ACTION/ABBY PLAYS THE COMPUTER GAME) ABBY: Damn! This is going to take a while. MUSICAL BRIDGE TO: EXT. PUERTO RICO - DAY (MUSIC OVER ACTION/COD LANDS) MUSICAL BRIDGE TO: INT. NAVY EXCHANGE - DAY CLERK: Can I help you, Petty Officer? TONY: What do you think? CLERK: I think they look good on you. TONY: Yeah? CLERK: Yeah. TONY: I'll take them. CLERK: Okay. Would you like anything else? TONY: How about a Naval Officer's sword. CLERK: You know I can't sell you that. TONY: My friend said I could get one here. CLERK: Well, your friend is wrong. I could get in trouble. TONY: It's not like it's drugs or anything, it's just a stupid sword. CLERK: Well, the Navy has these rules, okay? Take it up with them. TONY: I'll pay extra. Come on. I just want to take it home as a souvenir. Nobody's going to know. CLERK: Six hundred dollars. TONY: They retail for four. CLERK: I could lose my job. TONY: Five hundred. CLERK: Aye! TONY: All right. All right. All right. (TONY COUNTS MONEY) TONY: Thank you. Now look, I know you're going to take this the wrong way, but I'm NCIS and you've got some 'splaining to do. (THE CLERK BEGINS SHOUTING IN SPANISH B.G.) TONY: (V.O.) All I want is some information. Okay, that's all I want. (THE CLERK CONTINUES SHOUTING AT TONY WHILE THROWING ITEMS AT HIM) TONY: Once you settle down, we're going to be just fine. Now listen, you gotta love Puerto Rico. MUSICAL BRIDGE TO: INT. MACHINE ROOM - DAY GIBBS: Hey, look at these marks. KATE: More here.(INTERCUT SFX: SWORD CLANG) KATE: These are about two sword-lengths from the cuts in the other one. MacDonald and Kinvaras were starting to take their game very seriously. GIBBS: We don't know that yet. KATE: Well, I checked all the officers' swords... and there wasn't a scratch on any of them. GIBBS: Abby has not concluded that the other metal that MacDonald's sword came in contact with came from another sword. KATE: Then why did you send Tony to Puerto Rico. GIBBS: It's called being thorough. Hunches do not hold up in court. KATE: And not just a hunch. Two people stated that he wasn't prone to su1c1de. GIBBS: Why are you pushing this, Kate? KATE: Because it makes sense. He's Catholic. GIBBS: Hmm. And so are you. You cannot let personal situations color your judgment. KATE: I don't. But you hired me because of my knowledge and my experience. You've never seen how a su1c1de can tear up a Catholic family. They take it very seriously. GIBBS: Somehow I don't think this guy's the Catechism type. KATE: He was wearing a Saint Christopher medal when they found him. Even the most hardened criminals wouldn't cross that line. It's part of the culture. (SFX: PHONE RINGS B.G.) GIBBS: (INTO PHONE) Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) TONY: (INTO PHONE) Hey, it's me. (SCENE CUT) GIBBS: (INTO PHONE) Hey, your ears must have been burning. It better not be from the tropical sun. (SCENE CUT) TONY: (INTO PHONE) Uh... here's what I have. (SCENE CUT) GIBBS: (INTO PHONE) Hang on. The reception's not good here. Let me see if I can get to a better spot. (TO KATE) It's DiNozzo. I'm going to go up top - see if I can get a better signal. (INTERCUT FLASHBACK SCENES OF THE SWORD FIGHT) (SCENE CUT) TONY: (INTO PHONE) The Base Exchange was selling swords to enlisted. One was definitely to Seaman MacDonald. There were three other... (SCENE CUT) TONY: (INTO PHONE)...seamen who have legally bought officer swords. And I've got their descriptions. (SCENE CUT) GIBBS: (INTO PHONE) Okay, where are you? (SCENE CUT) TONY: (INTO PHONE) I'm waiting for my helo to arrive. It's going to be a couple hours, though. (MUSIC B.G.) (SCENE CUT) GIBBS: (INTO PHONE) Hey! What is that? TONY: (V.O./FILTERED) It's music, Gibbs. (SCENE CUT) TONY: (INTO PHONE) Don't be so paranoid. You know I'm a professional. (END TELEPHONE INTERCUTS) CUT TO: INT. STATEROOM - DAY GIBBS: Yeah! This one matches the description Tony gave us. KATE: Name's not on the list of suspicious injuries at sick bay. How many people on this boat? GIBBS: This ship has three hundred and twenty three enlisted, thirty two officers. You're luck this isn't an aircraft carrier. KATE: Hmm. GIBBS: What? KATE: Petty Officer Ronald Zuger cut his arm on a plate glass window last month. Only there were no glass shards in the wound. GIBBS: Matches the description? KATE: To a tee. Guess where he works? CUT TO: INT. COMBAT INFORMATION CENTER (SFX: KEYBOARDING B.G.) GIBBS: Impressive swordsmanship. klled anyone else lately? CUT TO: INT. WARDROOM - DAY ZUGER: The last time I looked there was nothing in the UCMJ about virtual homicide, Sir. GIBBS: You're not under arrest. ZUGER: Then why am I here, Sir? GIBBS: For starters, there's a little matter of misappropriation of government property. ZUGER: Everyone in CIC plays online a little. GIBBS: Well here's a flash. They don't give you guys top notch equipment so you can have a better gaming experience. ZUGER: Well, they wouldn't have top notch equipment if it weren't for guys like me. GIBBS: Guys like you and Seaman MacDonald? Okay, what came first, the online chicken or the CIC egg? ZUGER: I didn't know he was onboard for a long time. GIBBS: Must have been quite a shock. ZUGER: Actually we had a pretty good laugh over it. GIBBS: He's not laughing now, is he? CUT TO: INT. LAB - DAY (SFX: COMPUTER BEEP TONES B.G.) ABBY: Yes!(SFX: RAPID COMPUTER BEEP TONES B.G.) (SFX: TELEPHONE BEEP TONES) (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) KATE: (INTO PHONE) NCIS. (SCENE CUT) ABBY: (INTO PHONE) That's very official. (SCENE CUT) ABBY: (V.O./FILTERED) Gibbs isn't answering his phone. Where is he? KATE: (INTO PHONE) Having a talk with Kinvaras. (SCENE CUT) ABBY: (INTO PHONE) Well, if he's anywhere near as whacked out as his rival, tell Gibbs to watch his neck. (SCENE CUT) KATE: (INTO PHONE) You got into MacDonald's diary? ABBY: (V.O./FILTERED) I did. (SCENE CUT) ABBY: (INTO PHONE) This guy had diarrhea of the keyboard. It's going to take me a while to get through it. (SCENE CUT) KATE: (INTO PHONE) I'll do it. I want to. (SCENE CUT) ABBY: (INTO PHONE) Cool.(END TELEPHONE INTERCUTS) CUT TO: INT. WARDROOM - DAY GIBBS: Seaman MacDonald saw you as some sort of authority figure. ZUGER: I outranked him, Sir. GIBBS: That's not what I mean. ZUGER: I didn't kll him, Sir! GIBBS: Okay. Have you ever klled him? (bat) In the game? ZUGER: Sure. Kinvaras beheaded Weylin lots of times. GIBBS: You were better than him. ZUGER: Lots better. It pissed him off. GIBBS: Is that when you decided to fight for real? ZUGER: I never said we fought for real, Sir. GIBBS: Tony! (DOOR OPENS) TONY: I found this hidden in your rack, amigo. It won't take long for the crime lab to match up the metals. ZUGER: Look, it was his idea. Take the game to the next level. I thought it was kind of cool at the time! GIBBS: Until you got cut. ZUGER: Yes, Sir. GIBBS: Did that frighten you, Zuger? When you found out that MacDonald was playing for real? ZUGER: Kinvaras is never frightened. And I've never quite known what Weylin was thinking. GIBBS: Where were you the night that MacDonald went overboard? ZUGER: I was helping a friend with a computer problem...most of the night. GIBBS: Big problem. ZUGER: Huge, Sir. MUSICAL BRIDGE TO: INT. LAB - DAY MACDONALD: (V.O.) I'm constantly being scrutinized by the crew. Every move I make is monitored by calculating eyes. I'm sure at this point they're in allegiance with Kinvaras. I can't let them know I'm on to them. The element of surprise will be a great advantage for my final triumph. (MUSIC UP AND OUT) FADE IN: INT. WARDROOM - DAY GIBBS: Petty Officer Zuger said he was helping you the night Seaman MacDonald went over. Is that true? CARNAHAN: In a way. GIBBS: Are you going to help me out here, Petty Officer Carnahan? CARNAHAN: I had been downloading a lot of... stuff off the internet onto my PC. GIBBS: prn? CARNAHAN: I was pretty sure my C.O. was suspicious, so I hired Zuger. He cleaned out the hard drive. GIBBS: There was a considerable amount to clean out. CARNAHAN: I have a lot of free time on my hands, Sir. DUCKY: (V.O.) As I thought. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: (INTO PHONE) Abby matched the dirt lodged under Seaman MacDonald's fingernails...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) DUCKY: (V.O./FILTERED) ...with the sedimentary composition of the ocean floor. (SCENE CUT) GIBBS: (INTO PHONE) Any signs the suspect had a dance partner before he went over? DUCKY: (V.O./FILTERED) There were abrasions on his hands... GIBBS: (INTO PHONE) No sign of a struggle? DUCKY: (V.O./FILTERED) Mmm, the only bruising I could see is where the chain was attached. (SCENE CUT) DUCKY: No, the only struggle this poor fellow endured was the one to breathe when he ht the bottom. (SCENE CUT) GIBBS: (INTO PHONE) Okay, thanks. DUCKY: (V.O./FILTERED) I wish I could say it was my pleasure. From what I hear... (SCENE CUT) DUCKY: (INTO PHONE)... the afterlife could be a vast improvement for a young man so troubled. You know, there's a great book... (SCENE CUT) DUCKY: (V.O./FILTERED)... I should say. GIBBS: (INTO PHONE) Gotta go, Duck. (END TELEPHONE INTERCUTS) GIBBS: There are signs the victim struggled, and our only suspect has an iron-clad alibi. TONY: Sure looks like a su1c1de to me. KATE: I don't think it's that simple. GIBBS: You are letting your personal experience get in the way here. KATE: No, I'm not talking about his religious morals. Okay, I've been reading this diary for hours. I mean, MacDonald gives no indication of intent to kll himself. It's just the opposite, in fact. GIBBS: Go on. KATE: MacDonald seems resolved to continue his battle with Kinvaras after he leaves the ship. So why would a man so intent on his mission, no matter how deranged, off himself and end it? GIBBS: What else is in his diary? KATE: I'm on the last entry right now. GIBBS: Get me Petty Officer Zuger's records now. TONY: I'm on it. (INTO PHONE) I need Petty Officer Zuger's records, please. I'll hold. GIBBS: What? TONY: Aren't you the least bit interested to know what I brought you back from Puerto Rico? GIBBS: No. KATE: Listen to this TONY: (V.O.) Hey, yeah. KATE: MacDonald says that after he makes his escape, he'll destroy his enemies by releasing a great plague against the realm as the sun sets beneath the next full moon. TONY: Files on the way. GIBBS: Plague? Plague. There it is. MacDonald had applied for the NBC program. TONY: Nuclear, Biological and Chemical wapon. GIBBS: Passed the physical, flunked the psych. TONY: So what's the realm he's talking about? KATE: I think it's the Foster. MacDonald was convinced that the crew was aiding his enemy. GIBBS: He's going to set a bio bmb off on this ship. Tell me it's not a full moon tonight. TONY: Sorry, boss. GIBBS: What time does the sun set? TONY: Twenty three thirty seven zulu. KATE: About an hour from now. TONY: Get Zuger in front of this computer and see if he can find out anything about MacDonald or a bio wapon in that game site. Navy ships do not carry bio-chemical wapon nor would they have the material to make them. Contact Reynolds and notify security. He'll know if there's anything unaccounted for in this region. MUSICAL BRIDGE TO: INT. PASSAGEWAY - DAY GIBBS: Where's the Captain? ENSIGN RAY: In a staff meeting. (DOOR OPENS) ENSIGN RAY: (SHOUTS) Hey you can't go in there! GIBBS: Skipper, I have reason to believe a bmb, possibly containing a bio agent, is set to detonate aboard this ship by sunset. RIVERS: How real do you think that thrat is? GIBBS: Very real. RIVERS: Sound General Quarters. ROBBINS: Yes, Sir. RIVERS: Deploy the Flying Squad. Start with the ventilation systems and alert sick by of the situation and have them stand by. OFFICER: (V.O.) Aye aye, Sir! (SFX: WARNING TONES B.G.) VOICE OVER P.A.: General quarters! General quarters! All hands man your stations. Stand by for further... (MUSIC OVER ACTION/ PERSONNEL HURRY IN THE PASSAGEWAY) ZUGER: What're you doing, Sir? TONY: Do you know anything about a bmb aboard this ship? ZUGER: What? TONY: Did MacDonald every talk about delivering a virus aboard the Foster!? ZUGER: No! I... I don't think so.(MUSIC OVER ACTION SCENES OF PERSONNEL READYING FOR AN attck) CUT TO: INT. COMBAT INFORMATION CENTER TONY: Get on your site now! I want to know if there's even the slightest clue about MacDonald setting off any kind of bio bmb aboard this ship. CUT TO: INT. PASSAGEWAY - DAY KATE: Reynolds says there's no known material missing, but the intel's soft. They'll continue to check. GIBBS: Stay on him every five minutes. KATE: He expressly told me to wait for his call. GIBBS: I expressly don't give a damn. Ride his ass. MUSICAL BRIDGE TO: EXT. PASSAGEWAY - DAY (MUSIC OVER ACTION/MEN SEARCHING INTO THE AIR DUCTS) (VOICE OVER P.A. B.G.) MUSICAL BRIDGE TO: INT. COMBAT INFORMATION CENTER (SFX: COMPUTER VOICE LAUGHS) ZUGER: No! He can't do this! GIBBS: What's going on? TONY: I'm not sure. (SFX: COMPUTER BEEP TONES) ZUGER: Weylin hacked me. Kinvaras is gone. TONY: Is MacDonald covering his tracks? GIBBS: You listen to me very closely. There's a good chance a bio bmb is going off on this ship by sunset. Right now you're the best sht we've got to find it. You give me answers or I will make sure you are the last person in line on the evac. Did MacDonald even hint, in any way, of taking out this crew? ZUGER: No, Sir. Nothing. GIBBS: Go over MacDonald's diary again. Maybe we missed something. I want to know every detail that happened just between you and MacDonald. MUSICAL BRIDGE TO: INT. BRIDGE - DAY ROBBINS: Skipper, the hospitals in Raleigh are on standby and the helos from the Washington and the Bryan are on the way. (BEGIN MONTAGE OF SHIP ACTION SCENES) MUSICAL BRIDGE TO: INT. COMBAT INFORMATION CENTER GIBBS: We've got a little more than twenty minutes, Zuger. What is it you're not telling me? (GIBBS THROWS ZUGER AGAINST THE DESK) GIBBS: Do you want the crew of this ship to die?! ZUGER: He was crazy, you know. He really thought he was immortal! GIBBS: He thought you were Kinvaras, didn't he? That's why you fought with real swords. ZUGER: I thought we were just playing the game. And then he tried to kll me. GIBBS: So you klled him? ZUGER: No! I didn't ... I just challenged him! GIBBS: (SHOUTS) Challenged him to what?! ZUGER: To go U.A. like he was always talking about! It told him to take his sword and swim to shore! GIBBS: Why was he wearing weights if he was going to swim?! (SHOUTS) Why did he have weights chained to his waist?! ZUGER: I told him that was the only way he could prove to me he was immortal. GIBBS: Why would you let him do that? ZUGER: To win the game. GIBBS: This isn't helping us. What else is in those diaries? KATE: I've been over them twice. GIBBS: Well, go over them again, Kate! MUSICAL BRIDGE TO: INT. BRIDGE - DAY ROBBINS: Nothing yet, Sir, and it's almost sunset. RIVERS: Have Agent Gibbs report to my sea cabin now.(DOOR CLOSES) MUSICAL BRIDGE TO: INT. COMBAT INFORMATION CENTER KATE: I'm missing something. I know I am. How much time? TONY: A little over five minutes. KATE: This stuff MacDonald said about cutting off the head so the body will die. We're assuming that's a part of setting off a "plague against the realm." But what if it meant two separate things. TONY: Okay. KATE: Zuger's website and his character were destroyed. And the plague against the realm could simply be referring to a computer virus. TONY: And "cutting off the head" is another thrat? KATE: Exactly. And MacDonald was sure that the crew was aligned with his enemy. He made it clear he was just as thrat with them as he was by Kinvaras. TONY: So he's talking about the crew when he refers to cutting off the heads so the body will die. KATE: That's what I'm thinking. TONY: Who's the "head" of the crew?(KATE AND TONY RUN FROM THE ROOM) MUSICAL BRIDGE TO: INT. CAPTAIN'S CABIN - DAY RIVERS: My ship is in chaos because of your hunch, Agent Gibbs. GIBBS: I'd characterize it more as a deduction, Skipper. RIVERS: Whatever the hell it is, it's pretty damn flimsy. GIBBS: I appreciate that. It's all we have to go on. The Seaman's mental attitude is... (DOOR OPENS) RIVERS: Is there some kind of NCIS protocol-- KATE: It's not the boat! GIBBS: It's a ship. KATE: It's the Skipper. TONY: Where are you about this time every day, Sir? RIVERS: I don't see what that has to do-- TONY: Just answer the question, Sir! RIVERS: Here. Everyday I send a -- KATE: We've got to go now! (ALL RUN FROM THE CABIN) GIBBS: Go! Go! Go! Go! Go! RIVERS: (V.O.) What the hell? MUSICAL BRIDGE TO: INT. PASSAGE WAY - DAY (DOOR CLOSES) (SFX: explsin B.G.) (VOICES SHOUTING B.G.) TONY: Are you all right? GIBBS: Are you okay? RIVERS: Yes! MUSICAL BRIDGE TO: INT. LAB - NIGHT DUCKY: I'm finding this very hard to understand, Abby. ABBY: Where did I lose you? DUCKY: I think somewhere around the part about Weylin and Kinvaras... ABBY: Okay. Seaman MacDonald was Weylin. DUCKY: Got that. ABBY: And Petty Officer Zuger was Kinvaras. DUCKY: I remember that because it sounds a lot like Canaris. ABBY: What? DUCKY: A German Navy Admiral, World wr Two. ABBY: Okay. Whatever works for you. So we've got MacDonald, Weylin, and Zuger... Kinvaras, battling online in The Immortals game. Zuger always wins, so MacDonald challenges him to a fight like for real. And they both buy officers' swords at the Navy Exchange in Puerto Rico. DUCKY: But they were enlisted. ABBY: Let's say they bought their commissions. DUCKY: That was done at one time, you know. ABBY: So they're sword fighting and MacDonald wins. He cuts Zuger. Zuger gets pissed, and he goes back to the one thing that he knows he can bat MacDonald at. DUCKY: "The Immortals"? ABBY: Yes.... and no. Zuger realizes that MacDonald has tripped out and thought he really was Weylin. So Zuger challenges him to prove it. MacDonald puts weights around his waist, jumps ship, and tries to walk across the bottom of the bay to dry land. DUCKY: You know, Abby, sometimes the dad make more sense to me than the living. ABBY: Me, too. CUT TO: INT. XO'S STATEROOM - DAY GIBBS: All right? KATE: I still can't get over how the line between reality and fantasy were so blurred for Seaman MacDonald. GIBBS: For him, destroying Zuger's website was every bit as real and violent as trying to kll the Skipper. TONY: I'm so glad my parents pushed me into sports in high school. Aren't you interested at all in what I brought you back from Puerto Rico? KATE: Sure. GIBBS: (OVERLAP) All right.(KATE OPENS THE BAG) KATE: You've got to be kidding. TONY: It's a bikini. Two piece. KATE: A bottom. And a hat? TONY: Puerto Rican. GIBBS: Any chance you're going to try that on? KATE: You first. GIBBS: Trust me, it's not going to fit. KATE: Pigs. I work with pigs. (GIBBS UNWRAPS THE PRESENT) TONY: It's a fantasy R.P.G book, complete with character sheets and dice. Baby steps, Gibbs, baby steps. GIBBS: It's in Spanish. TONY: There's just no pleasing you, is there? (MUSIC OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x04 - The Immortals"}	foreverdreaming
MUSIC IN: EXT. WOODED AREA - DAY (MUSIC OVER ACTION/ HUNTER MOVES THROUGH THE BUSH CHASING A DEER) (SFX: HUNTER CLEARS LEAVES WITH HIS HANDS) (SFX: HATCH DOOR OPENS) (HUNTER SHOUTS) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "THE CURSE" GIBBS: Grab your gear. TONY: My three favorite words. KATE: Where to? GIBBS: Saint Mary's River State Park. Right here. TONY: Maryland. GIBBS: Good guess. Think you can guess how to drive there? TONY: I'd say the fastest way would be to take the Beltway to Highway Two Thirty Five south. Take that to Route Fifty and then... punch it into the Nav System when we get lost. KATE: What's in the park? GIBBS: A deer hunter stumbled onto an aircraft drop tnk - Navy markings. TONY: We're driving to Maryland to look at a drop tnk? GIBBS: It's got a body inside. TONY: Now that's different. GIBBS: Yeah, I thought so. You pick up Ducky. Tony, you gas the truck. TONY: You know, Gibbs, most agencies have people who do that sort of thing. GIBBS: Mm-hmm. So do we. MUSICAL BRIDGE TO: EXT. PARK - DAY TROOPER LYNCH: Bow hunter was tracking a deer. Stumbled across the drop tnk. GIBBS: He the one who opened the hatch? TROOPER LYNCH: That's right. (CAMERA ANGLE ON CORPSE) DUCKY: Mmm... KATE: How did he get so... DUCKY: I believe mummified is the adjective you were searching for. Ah, the tnk must have been airtight creating a hermetic environment. (SFX: CAMERA SHUTTER CLICKS) TONY: No air, no bugs, no critters. DUCKY: And more important, no bacteria. GIBBS: You got an estimated time of death, Duck? DUCKY: Very amusing, Jethro. HUNTER: I thought it was a mssile or a bmb of some kind until I tapped it. It sounded hollow so I cleared some leaves away and found the hatch. (SFX: CAMERA SHUTTER CLICKS) GIBBS: Curiosity got the best of you? HUNTER: Wouldn't yours? GIBBS: Yeah. You know what, it probably would have. Did you remove the flight bag? HUNTER: Yeah. GIBBS: Touch anything else? HUNTER: Not after I saw King Tut. GIBBS: Well, we'll need your prints...to separate them from any others we find on the tnk. (SFX: CAMERA SHUTTER CLICKS) KATE: Lieutenant Commander Farnsworth. Think he's our mummy? GIBBS: I don't know. Bag it. DUCKY: I can't do anything with this gentleman until we cut him out of here. TONY: I know what this is, Boss. GIBBS: Uh... external fuel tnk? TONY: A three hundred and seventy gallon external fuel tnk off an F-Fourteen Tomcat. A few were converted into camera or cargo pods. This one's a cargo pod. KATE: I'm impressed. TONY: I didn't become an NCIS agent yesterday, Kate. As a matter of fact, tomorrow is... GIBBS: .... it'll have been two years. TONY: That's kind of touching, Gibbs, remembering the day you hired me. GIBBS: Yeah, well it seemed like a good idea at the time. Duck is it okay if I touch? DUCKY: By all means. GIBBS: Our sailor is a Lieutenant. The flight bag's not his. KATE: Can you see his dog tags? GIBBS: Nope. Get a flatbed. We're going to take our Lieutenant and his pod back home with us. KATE: Let me guess, you're going to suggest I ride back in the flatbed with the driver. GIBBS: It wasn't a suggestion. MUSICAL BRIDGE TO: INT. NCIS GARAGE - DAY (SFX: SKILL SAW B.G.) GIBBS: Abby, find any prints on there besides the hunter's? ABBY: I pulled some partials off the inside of the hatch that weren't his. TONY: The victim's? ABBY: I doubt it. Mummies aren't generally the self-help type. GIBBS: Run the prints through the military data base. ABBY: Got it. And there's a serial number on the underside of the tnk. The paint's kind of warn off, but I can bring it up. GIBBS: Good. If that tnk came off a Tomcat, somebody filed a T-F-O-A report. KATE: T-F-O-A? TONY: Things falling off aircraft. KATE: You're kidding. GIBBS: No, that's what they're called. Squadrons kept files on those going to back to biplanes. ABBY: All right. GIBBS: Okay, on three. One, two, and three. ABBY: Oh. Sailor on a half shell! DUCKY: Oh, Abby, please! ABBY: Sorry. (SFX: CAMERA SHUTTER CLICKS) DUCKY: It's not unlike the Egyptians, however. Their mummified dad were buried along with personal treasures to accompany them on their journey to the afterlife. TONY: Where he could squeeze in eighteen now and then. KATE: He's not wearing shoes. TONY: I kick mine off when I fly. GIBBS: We've got an I.D. ABBY: Lieutenant Mark Schilz. KATE: He's not our golfer. This bag belongs to Lieutenant Lynch. DUCKY: Gold wedding band. Looks like Lieutenant Schilz left someone behind. GIBBS: Okay, I've got a name. I've got a serial number. T-F-O-A will find the plane and squadron. ABBY: And we'll crack the secret of the mummy's curse in no time. DUCKY: Abby! ABBY: What? CUT TO: INT. SQUAD ROOM - DAY KATE: Lieutenant Schilz's service record. He was reported missing at sea off the Eisenhower. GIBBS: Amend it. He's no longer missing. KATE: The carrier was a day out of Norfolk at the end of a six month deployment in the Med. GIBBS: When? KATE: Uh, March four, nineteen ninety four. He was declared a deserter thirty days later and he received a dishonorable discharge. GIBBS: Dishonorable? KATE: Lieutenant Schilz was charged in absentia with theft of government property. GIBBS: Ah...the cargo pod? KATE: One point two million dollars out of the Eisenhower's safe. He was their Disbursing Officer. TONY: I just spent three riveting hours sorting through squadron records at the Safety Center. Found the aircraft that dropped the pod. An F-Fourteen Tomcat. GIBBS: From a squadron on the Eisenhower? TONY: Yeah. Vilma-F Two Twelve. The Red Wolves. KATE: Coming home from a deployment? TONY: After six months in the Med. Want to give me the names of the Tomcat crew? GIBBS: Well, it's safe to assume one of them wasn't Lieutenant Schilz. KATE: Why ride in a pod if you've got a seat in the cockpit? TONY: The pilot was Lieutenant Commander Farnsworth. KATE: Good news, Commander. It took ten years but we located your luggage. TONY: The golf clubs belonged to his RIO, Lieutenant Lynch. KATE: RIO? TONY: Radar Intercept Officer. Also called a GIBs. One B. Short for "guy in back." KATE: Why do you need two B's? GIBBS: Second one's for bastard. What else, Tony? TONY: V-F Two Twelve flew off the Eisenhower for Pax River the day before she docked at Norfolk. KATE: She? Tony, it's named after Dwight David Eisenhower, for God's sake! TONY: Maybe she was named for Mamie. GIBBS: Her flight path took them over lower Maryland. TONY: Where the Tomcat lost an external cargo pod. No one on the ground reported being whacked on the head, so the Navy conducted a cursory search and wrote it off. GIBBS: This was in the spring of Ninety four? TONY: Na-ha! Abby estimated how long the pod's been in the ground, right? GIBBS: Nope. TONY: Ducky calculated the time it took Lieutenant Schilz to mummify? GIBBS: Uh-uh. TONY: Okay. How do you know the date? KATE: I pulled Lieutenant Schilz's service record. TONY: Oh. You took the easy way. GIBBS: Not so easy. Our mummified Lieutenant went U-A with one point two million. KATE: He was the Disbursing Officer on the Eisenhower. TONY: Our mummy's a crook. KATE: Who tried to make his getaway in a cargo pod. GIBBS: I doubt it. Air's cold and thin at thirty thousand feet. He'd know that. Where's the money? It's not in the pod or Abby would be up here screaming Lotto. KATE: According to his service record it was never found. GIBBS: Tony, pull our files on the investigation since you're such an expert at looking up names. TONY: I wouldn't say I'm an expert. GIBBS: If he's still working for us, I want to talk to the onboard NCIS Special Agent in Ninety four. TONY: What if he's not with us? GIBBS: I want to talk to the onboard NCIS Special Agent in ninety four... TONY: (OVERLAP) Onboard NCIS Special Agent in Ninety four. GIBBS: The mummy had a wedding ring. KATE: And a wife to go with it. GIBBS: Got her current address? KATE: Not yet. DUCKY: (V.O.) The deceased was a Caucasian... MUSICAL BRIDGE TO: INT. NCIS AUTOPSY ROOM DUCKY: ...male, twenty to twenty five, approximately five foot seven. The facial bone structure indicates Nordic descent. GIBBS: Matches Lieutenant Schilz's description. Commissioned before the DNA database was initiated. DUCKY: Oh. Well young man, we'll have to match your smile. The Lieutenant was in remarkable condition, given the precipitous fall. The jaw was broken - fractured, post-mortem, no sign of bleeding. The injury is consistent with a nine-iron or possibly a sand-wedge. Definitely one of the lofted clubs he flew with. GIBBS: Ducky, I'm not interested in what happened to him after he died. DUCKY: I'm surprised to hear you say that, Gibbs. You know post mortem details could be extremely revealing. Remember that case four years ago, where the young Marine was buried in an ant hill up to his neck? GIBBS: Duck, eight years ago. How did he die? DUCKY: Oh, it can't be eight years. No, I know it wasn't. Four years ago your third wife ht you over the head with a baseball bat. I distinctly remember the ant-eaten Marine on the table there when I stitched you up. GIBBS: Ducky, how did our young Lieutenant die? DUCKY: I think the poor fellow bled out. I made a minimal incision in the chest cavity and I came across evidence of massive internal hemorrhaging. GIBBS: From? DUCKY: I don't know yet. But something quite small must have punctured the chest cavity. Yes, I'll need to send the poor boy for a catscan to get a proper look. GIBBS: It couldn't have happened when he augured in on the pod? DUCKY: No! As I told you, the fracture to the jaw was postmortem, obviously inflicted by the crash. This amount of bleeding could only occur when he was alive. GIBBS: Which means that Lieutenant Schilz was mrder and then stuffed in the pod. DUCKY: Yes. Yes, I suppose it does. (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - DAY KATE: Gotta be decaf. GIBBS: What? KATE: All that coffee you drink. GIBBS: Hi-test. KATE: Don't you twitch? GIBBS: Nope. How's it coming? KATE: Uh... still no address. GIBBS: You know, if Lieutenant Schilz stole the money, he didn't do it alone. KATE: Why do you say that? GIBBS: Someone mrder him and stuffed him in the pod. Maybe an accomplice that didn't want to share the million two. KATE: Could he have surprised the thief in the Disbursing Office and been mrder? GIBBS: Well no, then someone would have to carry the body from there to the cargo pod without being seen - no easy thing to do on a ship with six thousand souls. KATE: Oh, I found Lieutenant Schilz's widow. She's remarried and living in Arlington. GIBBS: Go get her. (KATE RUSHES O.S.) TONY: Was it something I said? GIBBS: Not yet. TONY: Well, it looks like we're going to have to go to Hawaii, boss. GIBBS: Now it's what you said. TONY: NCIS Special Agent Afloat, Richard Owens, investigated the robbery in Ninety four. He's currently assigned to NCIS, Pearl Harbor. Or we could always use video conferencing. You know Owens? GIBBS: Nope. TONY: I didn't think you would. He's considerably younger than you are. GIBBS: What would you consider, considerably? TONY: The guy was young, Gibbs. Only twenty eight. That makes him thirty seven now. GIBBS: Then considerably would not be an accurate description. TONY: I didn't realize, boss. How old are you? GIBBS: It doesn't matter how old I am. TONY: Well, it does actually because it gives me a reference point for the word that you.... GIBBS: (OVERLAP) May I see the file? TONY: You know, after forty everybody's eyes... GIBBS: The night of the robbery... there was a report of a man overboard. A-Aft watch spotted a life vest beacon in the carrier wake. TONY: You're embarrassed to tell me how old you are. GIBBS: Not at all. (READS) Schilz's shoes were found in the hold full of scrap life vests. TONY: Yeah, the Navy presumed that he robbed the Disbursing Office, faked falling overboard and sat tight with the cash until the carrier put into Norfolk. GIBBS: They based all this on finding his shoes in the hold? TONY: Well, maybe the Navy read Agent Owens' notes. They are attached to the back of the file. GIBBS: (READS) "Lieutenant Schilz must have eluded the night watch and slipped over the side without his shoes to swim ashore." TONY: Eye strain. MUSICAL BRIDGE TO: INT. MARY'S LIVING ROOM - DAY MARY: Losing Mark at sea was bad enough, but to have him accused of stealing money. KATE: I'm sorry. I realize this is opening old wounds. MARY: At least finding his body will end the vicious gossip. There was a rumor that he started a new life with the money and a new woman. Here you go. KATE: Thank you. Was there any basis for it? MARY: We'd only been married a year. Six months of that he was at sea, Agent Todd. KATE: Doesn't sound likely, does it? MARY: No. No more likely than his being a thief. Mark was a good man. He loved the Navy, even if it didn't love him back. But that'll change now, won't it? He'll be exonerated. KATE: Um... we have reopened the investigation. MARY: But it... it seems so obvious - whoever took the money mrder Bart. KATE: That's a very real possibility. MARY: He wouldn't have even been in that tnk unless someone put him there. KATE: So...you are remarried? MARY: Yeah. After six years I had Mark declared dad. Randy helped me move on. The Navy didn't even send a flag for his memorial service. KATE: That seems rather harsh. MARY: I could have done without the flag, but not to receive death benefits or child support, that...that was harsh. KATE: You haven't gotten anything? MARY: Flags and benefits are only for the honorably discharged. You haven't been in the Navy very long, have you? KATE: I'm still not. As I told you, I'm an NCIS Special Agent and that's only been for a month. MARY: I don't... care for myself. Randy and I get by but... if you clear Mark's name, Alicia will benefit. She'll have a better life. Money for college. KATE: She's beautiful. MARY: Mark never saw her. He called though, the morning she was born. I held the phone to her ear so she could hear her daddy's voice. HARM: He called her from the carrier? MARY: Yeah, I know it wasn't easy then. I don't know how he did it but somehow Mark got a call to me at Bethesda early in the morning. That was the last time I ever heard his voice. KATE: The day your daughter was born? MARY: Yeah. And the day Mark disappeared. MUSICAL BRIDGE TO: INT. MTAC ROOM - DAY AGENT OWENS: (ON SCREEN) I would have never guessed he flew off the ship! GIBBS: I don't think it was his idea. AGENT OWENS: (ON SCREEN) I was sure he'd swum ashore with the cash. That damn case has been the only blotch on my record for twelve years. GIBBS: Didn't do much for Lieutenant Schilz's record either. AGENT OWENS: (ON SCREEN) He stole the money. I'll stand by that. GIBBS: Well, if he stole it, Agent Owns, where is it? AGENT OWENS: (ON SCREEN) Beats me but it's not on that ship. We searched every inch of it for him and the cash. GIBBS: The Eisenhower docked the next day. How long did you search? AGENT OWENS: (ON SCREEN) I don't remember. TONY: Two days. GIBBS: Who searched? AGENT OWENS: (ON SCREEN) Hell, the entire crew. GIBBS: Finders keepers? Treasure hunt? AGENT OWENS: (ON SCREEN) What are you implying, Gibbs? GIBBS: Nothing. I'm just wondering how you managed to search every inch of a ninety five thousand ton, twenty four story tall, one thousand forty nine foot long aircraft carrier in two days. AGENT OWENS: (ON SCREEN) We couldn't keep the crew any long than that. They'd been deployed for six months. Their families were waiting dockside. GIBBS: Which means you didn't search every inch. So as far as you know, that money could still be on board. AGENT OWENS: (ON SCREEN) It could be, but it isn't. GIBBS: Another assumption, Special Agent Owens? Or do you know this is fact? AGENT OWENS: (ON SCREEN) I don't like the tone of this. You've got my report. I have nothing more to tell you. GIBBS: Okay. We'll see. The Eisenhower is currently doing quals in the Atlantic. She'll be back in Norfolk for weekend liberty. Be there. Oh seven hundred. Saturday. AGENT OWENS: (ON SCREEN) You cannot order me back to that... that... (MONITOR CLICKS OFF) TONY: Where'd you get those statistics? GIBBS: Read 'em. CUT TO: INT. GARAGE - DAY TONY: You put it back together.(SFX: WELDING B.G.) ABBY: Yeah, I had to study the fiberglass sarcophagus in one piece. GIBBS: What'd you find? ABBY: Something hinky. Okay, the pod is attached to the Tomcat by an M-X-U rack with two hooks. TONY: It's here and here. (bat) Wasn't sure you could see 'em, boss. GIBBS: Go on. ABBY: The hooks fit in these holes. Now, when the pilot wants to eject the pod, he flips a switch and the hooks disengage. TONY: The pod drops away. ABBY: Well, actually it's kicked away. The forward and aft ejectors fre and kick it off the wing. TONY: T-F-O-A report said the pilot didn't touch the pod ejector switch. The pod just fell away. Is he lying? ABBY: No. If he had popped it, the ejectors would have made dents in the pod. GIBBS: No. No dents. ABBY: No dents. Just damage from plowing into Mother Earth. TONY: You know, when you think about it... CUT TO: EXT. JET - FLASHBACK TONY: (V.O.) If the Lieutenant was alive that would have been one hell of a ride. CUT TO: INT. GARAGE - DAY (SFX: TONY MAKES AUDIO EFFECTS) TONY: (bat) Well, it would. ABBY: (SIGNS) Tony's weird. GIBBS: (SIGNS) Oh, just figuring that out now? TONY: You know, it's not polite to talk with your hands. ABBY: Gibbs, come look at these holes. GIBBS: Yeah, top of the hole's damaged. This one, too. ABBY: To remove a pod on deck, you insert a key in the M-X-U rack and turn it. That withdraws the hooks. Now, if you turn the key only until the tips of the hooks are holding onto the pod then... GIBBS: It should tear loose on the cat sht and leave marks like these on the holes. ABBY: Except the mummy's curse was working so the tips held onto the pod until it was over Maryland. TONY: Abby, there was no mummy ten years ago so how could there be a curse? ABBY: It's like a chicken and egg thing, Tony. (DOORS SLIDE OPEN) KATE: I interviewed Lieutenant Schilz's widow. They had a child, Alicia. Nine years old and she's as pretty as her mom. TONY: I knew I should have taken that interview. KATE: She's remarried, Tony. TONY: Yeah? KATE: He does this just to screw with me. Don't you? GIBBS: Do you have a report to make, Agent Todd? KATE: Mary got a phone call from her first husband the day he disappeared. She'd just given birth at the Bethesda Naval Hospital - he called her from the carrier. ABBY: So? GIBBS: So it's a big deal to call home from a ship in Ninety four. KATE: The signal was bounced off a satellite and routed to the Comm office in Norfolk. GIBBS: Did you trace the time of the call? KATE: Navy doesn't get rid of anything. Comm office records show that a Lieutenant Schilz called Bethesda Naval Hospital from C-V-N Sixty nine, that's the Eisenhower... at zero five thirty three on the Fourth of March, nineteen ninety four and the call lasted twelve minutes. GIBBS: Tony. What time does the shmuck's report say the disbursing office was robbed? KATE: What schmuck? GIBBS: Our schmuck, unfortunately. TONY: Between twenty one hundred hours, March third when the office was secured and zero seven hundred on the fourth when it was opened by the Assistant Disbursing Officer. KATE: It doesn't let him off the hook. TONY: Ensign Wiles. KATE: Wiles? Randy Wiles? TONY: Ah, no. You're not getting me to bite, again. You read this report.... No! Mrs. Schilz told you! KATE: Actually, she did. TONY: I knew it. KATE: Only she didn't tell me that Randy Wiles was the Assistant Disbursing Officer. She said he was her husband! (FADE OUT) MUSIC IN: INT. USS EISENHOWER - DAY AGENT OWENS: This is why I jumped at being stationed at Pearl. It's only November and I'm freezing. I hate Norfolk. TONY: Could be Bremerton. AGENT OWENS: Where the hell is he? I didn't fly standby and sit next to a toilet for twelve hours to freeze my ass off waiting. TONY: First Class toilet? (bat) Sorry. AGENT OWENS: He's talking to me like I'm some kind of newbie. Who the hell does this Gibbs think he is anyway? Ten years and this case is still haunting me. It's like I'm cursed. (TONY CHUCKLES) AGENT OWENS: What was funny? TONY: Our lab tech believes there's a curse. But she's a Goth, you know. The chains and the tats and the piercings. You're so... how old do you think Gibbs is? CUT TO: EXT. fring RANGE - DAY (SFX: gn BLASTS B.G.) (SFX: CLAY PIGEONS EXPLODE) GIBBS: Very nice. Very nice. RANDY: Thanks. You here to sh*t? GIBBS: I hope not. I'm Special Agent Gibbs, this is Special Agent Todd. NCIS. The lady inside said you're the manager. Randy Wiles. KATE: Formerly Ensign Randy Wiles. RANDY: I saw the news. If you're here to talk about Mark, I told you guys all I know years ago. GIBBS: You didn't say you're going to marry his wife. RANDY: You talked to Mary? KATE: I did. And funny thing, she never once mentioned marrying her husband's shipmate. RANDY: She doesn't know that Mark and I served together. CUT TO: INT. PRO SHOP - DAY GIBBS: How could she not know? RANDY: We met at Mark's memorial service. GIBBS: What'd you say? I was passing by, dug the music and decided to drop in? RANDY: Something pretty close to that. I was afraid that if I told her I knew Mark, she'd ask a lot of questions. I didn't think I'd fall in love with her. And then when I did... it was too late. KATE: Bounce. RANDY: Yeah. GIBBS: Bounce? KATE: It's a film. Ben Affleck gives up his seat on this flight for a guy who needs to get home. Plane crashes. Guy dies. He looks up the widow, Gwyneth Paltrow. He means to tell her the story, but by the time they come around to it, they've fallen in love and he's afraid if he tells her it'll ruin it. RANDY: That's what happened to me. KATE: I believe him. GIBBS: Of course you believe him. It's a chick flick. In a guy flick, you steal the money, you set Lieutenant Schilz up to take the fall, you mrder him and you marry his wife. RANDY: That is sick. KATE: It sure is. GIBBS: Agent Todd, you will realize after being here more than a month that there are a lot of sick people in the world. Are you one of those, Randy? RANDY: This is my day job. At night I do freelance accounting. Mary and I rent a house, Alicia goes to public school. I drive a six year old Saturn. Now do you think I'd live like that if I had a million bucks? GIBBS: Yeah, you're right. You were doing better staying in the Navy. RANDY: Navy cleared me, doesn't mean they trusted me. GIBBS: Your disbursing clerk, Petty Officer Toner. She left the Navy, too. They pass her over? RANDY: Erin enlisted to catch an officer. AGENT OWENS: (V.O.) Petty Officer Toner was a hottie. CUT TO: INT. PASSAGEWAY - DAY AGENT OWENS: If you know what I mean. TONY: Oh, yeah. GIBBS: You investigate this hottie? AGENT OWENS: It's in my report. GIBBS: So is the assumption that Lieutenant Schilz left his shoes onboard so he could swim ashore. AGENT OWENS: That's not in my report! GIBBS: No, that was in your attached notes. AGENT OWENS: I didn't think the Navy was going to look at my notes. GIBBS: You didn't think about anything except getting ashore. AGENT OWENS: That's not fair, Gibbs. GIBBS: Neither is convicting a man in absentia for a sloppy investigation. AGENT OWENS: Lieutenant Schilz was the only one who could have done it. Wiles was in an all night poker game and Erin was already in her quarters. TONY: How do you know? AGENT OWENS: That cruise was the first time females were deployed at sea. If they weren't at chow or at work, they were in female country. The Navy ran that area like it was a sorority. No men allowed. GIBBS: I'll bet you all you did was take her word. How many women got pregnant on that cruise, Special Agent Owens? AGENT OWENS: Quite a few, Agent.(SFX: PHONE RINGS) TONY: I guess the house mothers weren't on top of the log book. GIBBS: (INTO PHONE) Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) KATE: (INTO PHONE) Lieutenant Commander Farnsworth and Ensign Lynch died in a ramp strike two years ago. I won't say it sounds like Abby's curse of the mummy but... (SCENE CUT) GIBBS: (INTO PHONE) Well, if they were still in the Navy two years ago, we could cross them off our list... (SCENE CUT) GIBBS: (V.O./FILTERED) ...of millionaire accomplices. KATE: (INTO PHONE) You mean suspects. (SCENE CUT) GIBBS: (INTO PHONE) Lieutenant Schilz was probably klled by an accomplice. (SCENE CUT) KATE: (INTO PHONE) Or klled catching the thief in the act. (SCENE CUT) GIBBS: (INTO PHONE) Are you interested in clearing him or catching the bad guys? KATE: (V.O./FILTERED) Both. (SCENE CUT) KATE: (INTO PHONE) If we exonerate him then his wife and daughter will get the death benefit they deserve. (SCENE CUT) GIBBS: Did you locate Petty Officer Toner? (SCENE CUT) KATE: (INTO PHONE) Traced her to Westchester, P.A. On the way now. (END TELEPHONE INTERCUTS) CUT TO: INT. PASSAGEWAY - DAY GIBBS: The pilot and his RIO are dad. I don't want to hear the word "curse" out of your mouth, DiNozzo. TONY: Would I say that, boss? AGENT OWENS: You said it to me. TONY: You said it first. CUT TO: EXT. GOLF COURSE - DAY ERIN TONER: (V.O.) Nice drive, Ben. BEN: Oh, yeah. ERIN TONER: For someone with your swing. KATE: Miss Toner? (ERIN SWINGS) KATE: The pro told me you were teeing off. ERIN TONER: I was trying to. KATE: Sorry. I just drove in from D.C. to speak with you. It'll only take a few minutes. BEN: Do you know anything about golf etiquette, young woman? KATE: Not really. BEN: This is a private club. How did you get in here? KATE: I showed these at the gate. CUT TO: EXT. CLUB PATIO - DAY ERIN TONER: I'm sorry to hear Mark's been dad all these years. I always imagined him on some beach in Mexico sipping marguerites. KATE: You believe he stole the money. ERIN TONER: Oh, he and Randy were the only ones who had the combo and Randy was playing poker all night. It had to have been Mark. KATE: Well, if that's true then his accomplice got away with the money. ERIN TONER: Easy to see where you're going with this, Agent Todd. You said you saw my house. Nice. This country club. Also nice. Both expensive. I didn't marry money...yet. And with the losers in my family, I sure as hell didn't inherit it. So you're wondering if I was in on it with Mark. klled him and took the money. KATE: Well, either that or you won the lottery. ERIN TONER: Two million. I uh... I carry this for good luck. KATE: You can laminate a losing ticket. ERIN TONER: (LAUGHS) Oh, come on home with me honey. I'll show you the write up from the Canton Gazette. It's too big to laminate, though, I had to have it framed. KATE: Let's go. ABBY: (V.O.) Fore! CUT TO: INT. AUTOPSY ROOM - DAY ABBY: Ooh! DUCKY: Never do that again! ABBY: I'm sorry. I didn't know you were going to get all freaked out. DUCKY: It's an atmatic reflex when one's a golfer, Abigail. ABBY: Please don't call me Abigail. DUCKY: Then don't yell "fore" when I have a niblick in my hand. ABBY: A niblick? Sounds like a sex act. DUCKY: Yes, that's what I thought it was the first time I heard the term. A niblick is what a nine iron used to be called when golf was the province of Scottish nobles, not the democratic lovely walk spoiled by the weekend duffer. ABBY: So....what? You think he was klled by a niblick to the kidney? DUCKY: No, no, no. The cat scan revealed a puncture would to the chest cavity caused by a thin sharp object that perforated the pericardial sack and then penetrated the heart. ABBY: Ouch. DUCKY: Ouch indeed. ABBY: So what about your niblick? DUCKY: Ah, I was trying to see if this could have caused these hair fractures to the pelvis and lumbar vertebrae. But it's too flexible to cause uniform fracturing across both sides of the pelvis. No, it had to be an object much more rigid. ABBY: What about his abrupt stop on an E-ticket ride? DUCKY: The faint traces of bleeding on the cat scan. No, these fractures occurred before or immediately after he expired. Are you sure you didn't find anything here in this area on his uniform? ABBY: Mmm, no nothing that would cause these. But I wasn't looking closely. DUCKY: Ah! Look closely my dear. ABBY: Of course, my darling. CUT TO: INT. DISBURSING OFFICE FALLINI: The robbery is a legend on this ship. Knowing Lieutenant Schilz didn't get off with the cash is going to start a treasure hunt. Excuse me. GIBBS: Bring back fond memories? AGENT OWENS: Not so fond. (BEGIN FLASHBACK SCENE) AGENT OWENS: (V.O.) The safe hadn't been jimmied. Ensign Wiles and Erin said nothing was missing but the cash. (END FLASHBACK SCENE) GIBBS: Was something going on between you and Petty Officer Toner, Agent Owens? AGENT OWENS: No. TONY: You called her a hottie. GIBBS: You keep referring to her by her first name. AGENT OWENS: We're not allowed to fraternize with enlisted females. You know that. GIBBS: You're not allowed to put assumptions in reports either. AGENT OWENS: You've made your point, Agent Gibbs. I blew that. But I wasn't screwing around with Erin. She had something going on with one of the airmen. GIBBS: That wasn't in your report. AGENT OWENS: It didn't seem pertinent. GIBBS: Name? AGENT OWENS: Martinez. Martinez. Petty Officer Ted Martinez. TONY: Hi. Excuse me. AGENT OWENS: You think he's involved? GIBBS: I don't know. But since it was his hottie working here, you should have looked into him. AGENT OWENS: You're right, Sir. (PHONE RINGS) GIBBS: Do not "Sir" me. I work for a living. (INTO PHONE) Gibbs. (BEGIN TELEPHONE INTERCUTS) KATE: (INTO PHONE) Erin Toner is living large. Nice house. Country club membership. (SCENE CUT) GIBBS: (INTO PHONE) Do not tell me that she has a rich husband. (SCENE CUT) KATE: (INTO PHONE) ht the Ohio Lottery for two mil. (SCENE CUT) GIBBS: (INTO PHONE) You check that out? KATE: (V.O./FILTERED) Yes. Saw the winning ticket and newspaper clippings. (SCENE CUT) KATE: (INTO PHONE) State lottery board's closed for the day. GIBBS: (V.O./FILTERED) Call in the morning.(SFX: DIAL TONE) KATE: (INTO PHONE) Can you hear me now? (END TELEPHONE INTERCUTS) CUT TO: INT. DISBURSING OFFICE - DAY TONY: Got him. Ted Martinez. Aviation Machinist's Mate, Second Class. Final discharge June second, nineteen ninety four. A lot of sailors left the Navy in June of ninety four. (SFX: COMPUTER BEEP TONES B.G.) GIBBS: Aviation Machinists' Mate. That means he was working the flight deck. AGENT OWENS: Petty Officer Second. Probably a plane captain. (bat) What? GIBBS: Who would have had the ability to stuff a body into a cargo pod? AGENT OWENS: Anyone on the hangar deck. GIBBS: Who's most likely? AGENT OWENS: You're asking me to make an assumption, Agent Gibbs. GIBBS: I'm not asking you to write it down. AGENT OWENS: The pilot. The RIO. The plane Captain.(SFX: COMPUTER BEEP TONES) TONY: Don't strain your eyes, boss. GIBBS: That's no coincidence. AGENT OWENS: Don't tell me. GIBBS: Petty Officer Martinez was the plane captain on the Tomcat that dropped the pod that had Lieutenant Schilz's body in it. (MUSIC UP AND OUT) MUSIC IN: INT. NCIS LAB - DAY ABBY: Whoa, I should have been playing Beethoven. GIBBS: It's not Beethoven? ABBY: It's "The Newly dad." GIBBS: What's the orange stuff? ABBY: I don't know yet, but it's only off this part of the mummy's shirt. GIBBS: Same area as Ducky's hairline fractures. ABBY: You went to see Ducky before you came to see me! GIBBS: Is there a priority here I don't know about? ABBY: A girl likes to be thought of first. (CAMERA ANGLE CLOSE ON SCREEN) ABBY: I don't know if it's synthetic or natural, but it's definitely a fiber. What's orange in the Navy? GIBBS: Lifejackets. ABBY: Weren't the mummy's shoes found in a hold with old life jackets? GIBBS: I never believed he was in there with them. ABBY: You might have to change your opinion. GIBBS: Did you match Petty Officer Martinez' partial prints on the pod? ABBY: Yep. No big surprise, he was the plane captain. GIBBS: I was hoping they wouldn't match. ABBY: One of them didn't. I scanned the ridges and cleaned the garbage out. I got six Galton details. I like ten to twelve, but six is enough if you get lucky. GIBBS: Doesn't look like we got lucky. ABBY: Well, I limited it to Naval personnel who served between Ninety and Ninety four. Still a lot of ridges and curves. GIBBS: I might be able to lower the threshold. ABBY: How? GIBBS: I could give you a name and a serial number. ABBY: Oh, that might help. CUT TO: INT. SQUAD ROOM - DAY AGENT OWENS: Whoa, we've got nothing like this at Pearl. TONY: This is where the big boys play. GIBBS: (V.O.) DiNozzo! TONY: Speaking of big boys... yeah boss? GIBBS: What are you doing here? AGENT OWENS: Uh... well my flight's not till nine in the morning. Since I'm here, I thought that...maybe... GIBBS: You know how to do a database search? AGENT OWENS: Yeah. Yeah, I do. GIBBS: Use that computer. Locate Martinez. TONY: I'm looking for Martinez, boss. GIBBS: Yeah? I'm getting coffee. TONY: You got computers at Pearl? AGENT OWENS: Yeah, but ours is on the beach so we can surf on breaks. (TONY LAUGHS) TONY: Breaks... (SFX: KEYBOARDING) (PASSAGE OF TIME) (MUSIC OVER ACTION/KATE WALKS PAST A SLEEPING GIBBS AND TONY) KATE: Didn't you have a flight to catch, Agent Owens? AGENT OWENS: Hey. Um...you know, it's a little after two and my flight's not until um...there'll be another flight. (GIBBS AWAKENS) GIBBS: Coffee? KATE: Uh-huh. GIBBS: All right, what do you got? AGENT OWENS: We got Petty Officer Martinez was a Mexican national when he joined the Navy. He was discharged at Norfolk on June second, nineteen ninety four where he had his mail forwarded to the... Plaza Hotel... TONY: The Plaza Hotel in New York where he was from June fifth 'till the twenty second when he flew to... AGENT OWENS: Manzanillo Mexico. He registered at Las Brisas with a wife, no first name. Just Mister and Missus Martinez. GIBBS: They stayed at Las Brisas until the ninth of July. After that they uh...he uh...I lost him. AGENT OWENS: Yeah, and I found him in Guadalajara at the Presidente Intercontinental. Stayed there for ten days and then... then I lost him, too. (TONY LAUGHS) GIBBS: Okay, find out where he was born. Check with the local police there. A guy usually goes home when he's separated. I'm going. KATE: For coffee? GIBBS: To the head. CUT TO: INT. NCIS OUTER LAB - DAY GIBBS: Still no match?(DOORS SLIDE OPEN) ABBY: Nothing good enough to take to court. But if my life depended on it, I'd say it was her right middle finger that made that. Thanks. GIBBS: Yeah. ABBY: Oh, I spectroed the fiber. Its cotton canvas dyed orange number seven, but it's not from a life preserver. They're made out of urethane coated nylon. (INTERCUT FLASHBACK SCENE) GIBBS: It's the mailbag, Abby! ABBY: Orange mail bag. Cool! CUT TO: INT. SQUAD ROOM KATE: (INTO PHONE) Right, I understand. Are you sure? GIBBS: Ohio Lottery? KATE: (INTO PHONE) Uh-huh. Okay, thank you.(HANGS UP PHONE) KATE: Erin Toner was telling the truth. August ten ninety four she ht a pick six. Bought the ticket at a Seven Eleven outside of Canton, Ohio. She ht for thirty seven thousand. She lied. She and Martinez stole that money, not Lieutenant Schilz. TONY: Kate, incriminating her doesn't exonerate Schilz. She could have played him. KATE: No. They forced him to open the safe. They mrder him and they stuffed him in a pod. TONY: Unless Martinez or Toner admit Schilz had nothing to do with the robbery, there's no way to exonerate him. KATE: I'll get them to confess. GIBBS: How are you going to do that? KATE: I don't know... yet. AGENT OWENS: Whoa! Martinez was mrder in a Piedra Negras motel. KATE: My god! She's a Black Widow! TONY: I don't think she was ever married. GIBBS: We got her. Kate, go back to Pennsylvania and bring Erin Toner in. KATE: How? I can't arrest her, can I? GIBBS: No. No. She has to come voluntarily.(ERIN LAUGHS B.G.) MUSICAL BRIDGE TO: EXT. PUTTING GREEN - DAY ERIN TONER: Why the hell would I do that? KATE: Latent prints off Lieutenant Schilz's uniform match Petty Officer Martinez's. He was the plane Captain of the Tomcat that dropped the pod. ERIN TONER: You pull prints ten years later? KATE: The pod was hermetically sealed. We believe that Martinez forced Lieutenant Schilz to open the safe, mrder him and stuffed his body in a cargo pod. ERIN TONER: I think I knew Martinez. But I uh... I knew a lot of sailors on that cruise. KATE: Martinez is hiding in Mexico. We will find him. And when we do, we want a solid case for extradition. ERIN TONER: Do I look like a Mexican judge? KATE: We'd like your help in doing a virtual recreation of the theft for the hearing. ERIN TONER: Why me? KATE: We can't locate Ensign Randy Wiles. You're the only one that worked in Disbursing back then. ERIN TONER: Honey, are you working something you're not telling me? KATE: I want to exonerate Lieutenant Schilz so that his wife and his daughter can get the money due them. ERIN TONER: Tell them to play the lottery. KATE: I can call you back to the Navy, Petty Officer Toner. ERIN TONER: The hell you can. KATE: These are orders re-calling you to active duty as a material witness in a capital offense. All I've got to do is ink 'em Honey, and your ass is back in the Navy. Or you can voluntarily help us. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY TONY: Lieutenant Schilz finished a call to his wife and newborn daughter at zero five forty five. ABBY: (GIGGLES) I threw that little heel click to show he was really happy. TONY: Yeah, well not for long. Petty Officer Martinez surprised him with a Knfe, ransacked the safe and forced Lieutenant Schilz to carry the money to a Tomcat where he mrder Lieutenant Schilz, stuffed him in a pod and left with the money. KATE: So what do you think? ERIN TONER: I think you could use some help from Disney. ABBY: Oh hey, come on! I wasn't finished with it yet. GIBBS: We wanted to make sure we had the right scenario first. ERIN TONER: That one works for me. GIBBS: Not for me. No, Lieutenant Schilz would know that Martinez was going to kll him. He'd have resisted someplace... especially in a passageway full of sailors. Martinez had to kll him at Disbursing, but how did he move him to the pod if he was dad? ERIN TONER: He couldn't. DUCKY: Ah, but he could, my dear. You see, I found hairline fractures on Lieutenant Schilz's pelvis and lumbar vertebrae which Abby here matched to orange can... ABBY: (OVERLAP) ...orange canvas fibers from Lieutenant Schilz's uniform. GIBBS: I saw an orange mail bag being dragged over knee-knockers when I visited the ship. (SFX: COMPUTER BEEP TONES) GIBBS: Ah, I'll get back to that in a minute. Where was I? TONY: Dragging an orange mail bags over knee knockers, boss. GIBBS: Ah yeah, that bothered me. If Martinez did stuff his body in a mail sack, and dragged it across the ship, how come nobody noticed anything that was ah... ABBY: Hinky? GIBBS: Yeah, hinky. AGENT OWENS: And that's when I remembered how you used to turn heads when you walked by. ERIN TONER: I'm out of here. KATE: Not till the show's over. GIBBS: Now who would have noticed a sailor dragging a mail bag over knee-knockers with you walking by? ABBY: How's that animation? ERIN TONER: Much better. However, it's not evidence. You touch me again and I will have you arrested for asault, and the rest of you for unlawful detainment. GIBBS: You're free to go. Oh, I said I'd get back with that fingerprint. It's yours. ERIN TONER: Oh. Okay, it's mine. Where'd you find it? On Mark's uniform? All that proves is that we got it on. GIBBS: We didn't find it on his uniform. We got it from the Federales. They found it on the pstol that klled Martinez in Piedro Negras two days before you ht the lotto for thirty seven thousand dollars. TONY: Now we could extradite you. Mexican courts really don't like it when gringos kll one of their own. GIBBS: I don't know if it was you or Martinez who klled Lieutenant Schilz. You can tell it any way you want. We'll take it down. CUT TO: INT. SQUAD ROOM ELEVATOR AGENT OWENS: You know, in Hawaii it takes forever to get anything from the Federales. TONY: Same way here. AGENT OWENS: (bat) No, no no, guys. Don't tell me that...that fingerprint match was faked!? Okay, you guys are crazy. GIBBS: Yep. (SFX: ELEVATOR DOORS SLIDE SHUT) (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x05 - The Curse"}	foreverdreaming
MUSIC IN: INT. NIGHTCLUB - NIGHT (MUSIC OVER ACTION/SCENES OF THE NIGHT CLUB) NILES: Whooee!! This place is on fre! (IN SPANISH) Muy caliente. SHREWE: Nice accent. NILES: Works for her. SHREWE: With the Sangria she's downed, Swahili would work for her. NILES: Where'd Wilkes go? SHREWE: Ah...I don't know. He just kind of wandered off. (MUSIC OVER ACTION/WILKES WALKS THROUGH THE NIGHTCLUB) PATRON: (IN SPANISH) Hey, watch where you're going. CUT TO: INT. KITCHEN - NIGHT (DOOR OPENS) (MUSIC OVER ACTION/WILKES STANDS IN THE FREEZER SHIVERING) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. BASEMENT - DAY "HIGH SEAS"(SFX: GAME ON TV B.G.) (SFX: GIBBS WORKS ON THE BOAT B.G.) (PHONE RINGS) GIBBS: (ON TAPE) Gibbs. Talk. BURLEY: (V.O./FILTERED) Gibbs, Stan Burley. Put down whatever the hell you're doing with that stupid boat and pick up! I'm working a case on the Enterprise. I sure could use some help on this one. Really could use your help, boss. GIBBS: (INTO PHONE) Okay, you got my interest. What's going on, Stan? BURLEY: (V.O./FILTERED) Two days ago an Arresting Gear... (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) BURLEY: (V.O.) ... Operator went wacko on Liberty in Roda. (SCENE CUT) BURLEY: (INTO PHONE) His crewmates found him naked in a restaurant freezer. His body temperature was one oh six. (SCENE CUT) GIBBS: (INTO PHONE) What kind of drugs? (SCENE CUT) BURLEY: (INTO PHONE) Well, I'm thinking amphetamines. Still waiting for the tox report. (SCENE CUT) GIBBS: (INTO PHONE) Well, to trigger the seizure you're describing, chances are he's a chronic drug user. BURLEY: (V.O./FILTERED) You'd think. (SCENE CUT) BURLEY: (INTO PHONE) Only his last random piss test was negative. That was less than three weeks ago. I'm in a squeeze, Gibbs. (V.O./FILTERED) I don't have enough (INTO PHONE) time to work on this one by myself. (JET LANDS B.G.) (END TELEPHONE INTERCUTS) KATE: (V.O.) How long did Burley work here? CUT TO: INT. NCIS SQUAD ROOM - DAY ABBY: Five years. TONY: Five years with Gibbs? Amazing the guy didn't end up in a straight jacket. GIBBS: What was that? TONY: Oh, nothing, boss. Just praising your communication skills. ABBY: I really miss Burley. He was cool, you know. DUCKY: Listen, when you see Agent Burley, would one of you mind giving him this? KATE: No problem. DUCKY: Cricket ball. Well, he was not only an amazing agent; he was also an incredible athlete. And cricket was one of the few games he wasn't an expert in. TONY: Ah, shame. DUCKY: Yeah, I think he'll get a kick out of it. ABBY: Of course he will. He gets a kick out of everything. I love that guy! GIBBS: Okay. The COD's waiting for us. MUSICAL BRIDGE TO: EXT. FLIGHT DECK TONY: Just accept the fact that you're going to get lost. KATE: Why do you assume I'm going to? TONY: Because everyone does. A carrier is a big and confusing place first time on board. KATE: Duly noted. GIBBS: The numbers are stenciled on the bulkheads. First one tells you the deck level. They're called bull's-eyes. KATE: Deck level. GIBBS: The second one the frame number. Third tells you the compartment's position in relation to the ship's centerline. The last letter tells you what the space is used for. TONY: Crossing from port to starboard or starboard to port isn't as simple as going straight across. GIBBS: Sometimes you've got to go up one deck and down another. TONY: Or down one deck and up another. GIBBS: Sometimes two. TONY: It's frustrating. GIBBS: Not to mention confusing. But you'll get the hang of it. TONY: After you get lost a few times. MUSICAL BRIDGE TO: EXT. CARRIER - DAY AIR BOSS: (V.O.) Arresting gear control, this is Pri-fly. CUT TO: INT. PRI-FLY - DAY AIR BOSS: We've got a COD in the groove. GEAR TALKER: (V.O./FILTERED) Gear set for a COD. CUT TO: INT. COD CREW CHIEF: (V.O.) Thirty seconds. Thirty seconds till trap. GIBBS: You okay? Good. Just so you know, this isn't like landing in a seven forty seven. KATE: I sort of assumed. GIBBS: Dropping from a hundred and twenty knots to zero in one second can take it out of you. Just try to... (SFX: COD LANDS) GIBBS: ....breathe normally. KATE: (BREATHES OUT) Whew CUT TO: INT. PASSAGEWAY - DAY GIBBS: (V.O.) Tox report come back yet, Stan? BURLEY: Just like we thought. Traces of meth in the bloodstream. GIBBS: His urine was negative just twenty seven days ago? BURLEY: According to the Urinalysis Coordinator, clean as a whistle. TONY: Where's this Petty Officer Wilkes now? BURLEY: Still in sick bay. You the one at my desk now? TONY: That's right. Gibb's must have told you about me. BURLEY: Actually no. Abby mentioned it in passing. Just assigned? TONY: Two years. BURLEY: Really? Huh. (VOICE OVER P.A. B.G.) CUT TO: INT. PASSAGE WAY - DAY GIBBS: You said he was an Arresting Gear Operator? BURLEY: Yes, boss. GIBBS: The same crewmen with him in Rota work the flight deck here? BURLEY: All of them are on Chief Petty Officer Reyes' crew. GIBBS: Anyone else suspected of using, Stan? BURLEY: Not so far. GIBBS: Good. CUT TO: INT. BURLEY'S OFFICE - DAY KATE: What buddies were with him that night? BURLEY: Petty Officers Niles and Shrewe. They berth on deck five. designator five, fifty-six, two, L. KATE: I'll be fine. Oh, and this is for you from Ducky.(KATE WALKS O.S.) TONY: If Wilkes was tweaking, Reyes would have noticed. BURLEY: I didn't get much out of Reyes in my interview. You're welcome to try. GIBBS: You're looking good, Stan. BURLEY: I appreciate you coming, boss. GIBBS: (TO TONY) You waiting on something? TONY: Oh no. I'm gone. (TONY WALKS O.S.) GIBBS: I'd like to see Wilkes in action. Can you get me deck tapes of him during flight ops? BURLEY: Only about a hundred hours. GIBBS: Is that all? CUT TO: INT. PASSAGEWAY - DAY SEAMAN: Excuse me, Ma'am.(VOICE OVER P.A. B.G.) SEAMAN ONE: Uh...can I help you, Ma'am? KATE: This isn't the deck five berthing compartment, is it? SEAMAN ONE: This is the men's head on deck six, Ma'am. KATE: Uh, sorry. How do I get to deck five? SEAMAN ONE: You go aft, past bulkhead one twenty six, down the starboard ladder, through the hatch. KATE: Thanks. SEAMAN ONE: Ma'am? Ma'am? Aft. (SFX: SEAMAN URINATES) CUT TO: INT. SICK BAY - DAY WILKES: That's impossible. I don't use drugs. GIBBS: Your blood test says otherwise. WILKES: Then it must be a false positive. GIBBS: Before you joined up, you were an emergency medical tech. You tell me how often that usually happens. Maybe it's just a whim. Or maybe you like hanging out in walk-in freezers in your birthday suit. WILKES: I don't know what happened, Sir. I was feeling light headed and hot. Really hot. GIBBS: Well your body temperature was a hundred and six. That's high enough to kll most men, unless their cardiovascular system was being boosted by some sort of synthetic stimulant. WILKES: Somebody must have slipped something into my drink. GIBBS: Any idea who that someone might have been? WILKES: No, Sir. GIBBS: Any idea who provided the meth? WILKES: No, Sir! GIBBS: You know what, I'm trying to help you out here, Petty Officer. If you try to float this story at your court martial hearing, they will laugh your ass all the way to Leavenworth. Where did you get it? Shrewe? WILKES: No! GIBBS: From Niles? WILKES: I don't do drugs! And no one else on my crew does either! CUT TO: INT. BERTHING COMPARTMENT - DAY KATE: Deck five berthing? CREWMAN: Yes, ma'am. KATE: Thank god. CREWMAN: Ma'am, it's S.O.P women are supposed to announce themselves in designated male quarters of the ship. KATE: NCIS Special Agent Kate Todd. I'm announced. Can you tell me where I can find Petty Officers Niles and Shrewe? CREWMAN: I haven't seen Shrew lately, but Niles just went up to work out in the hangar bay. KATE: Hangar bay? CREWMAN: Deck one, frame number one fifty, the compartment next to usage Q. CUT TO: INT. HANGAR BAY - DAY (SFX: WEIGHTS CLANG B.G.) NILES: I'll be honest with you, Ma'am. I did my fair share of partying when I was in high school, experimented with pot and all that. KATE: You still experimenting? NILES: Absolutely not, Ma'am. Wildest I get now is a pitcher of sangria and a couple of beers. I'd never even consider something like meth. KATE: What about Petty Officer Wilkes? NILES: Solid as they come, Ma'am. Fourth generation Navy. His grandfather was a gn's mate on the Arizona. Wilkes would never disgrace the uniform. KATE: Well, I've got news for you, Petty Officer Niles. He did. NILES: I can't explain it, Ma'am. KATE: Can't or won't? NILES: Code of silence stuff doesn't fly too well on the Flight Deck, Ma'am. There's no room for screw ups. CUT TO: INT. BRIDGE - DAY ARBRING: We're being temporarily rerouted to assist in a search and rescue. A private yacht has gone missing. We are closest to the area so the Coast Guard has requested our help. It's a shame really. So close to home and these men now have to turn around and go back. GIBBS: That's why you're resuming flight ops. ARBRING: If there's a drug problem, I need it stopped. I need to know who it is and why testing procedures haven't picked it up. GIBBS: We'll do the best we can, Skipper. ARBRING: I'm sure you will. Lives depend on it. (MUSIC OUT) FADE IN: EXT. FLIGHT DECK - DAY CHIEF REYES: (SHOUTS) That wire's looking tired, gentlemen! Strip wire! Move! Move! Double time! let's go! Today, gentlemen! Hurry up! Thirty seconds and the next landing's on top of you! We're not sunbathing, Hancock! Let's go! Let's go! Not up to speed. Two seconds slower than the last time. All right. Stand by. We've got an E-two landing in five minutes. (TO TONY) I heard NCIS was bringing in the cavalry.(DIALOGUE OVER ACTION/MEN RACE TO THE DECK TO PREPARE FOR TAKEOFF) TONY: Special Agent Anthony DiNozzo. You're pushing your guys pretty hard, Chief, considering it's just a search and rescue run. CHIEF REYES: I always push my men hard, Sir. They've got to be ready. Tomorrow it might not be search and rescue. We might be back in the soup in Iraq. TONY: Still, don't you ever lay off, give your men a break? CHIEF REYES: My philosophy is if you got to do a job, you got to do it right one hundred and ten percent. That's why my men are the best, Sir. TONY: How did Petty Officer Wilkes handle being pushed? CHIEF REYES: He does okay. TONY: Ever show any signs of stress? CHIEF REYES: Fourteen hours a day on a flight deck during combat Ops, everyone shows signs of stress, Sir. TONY: You ever notice anything unusual in his behavior? Anxiety attcks? Irritability? Mood swings? CHIEF REYES: Not that I ever saw, Sir. If there's nothing else, I've got to prepare for the next aircraft, Sir. AIR BOSS: (V.O.) Ready Decky Two. Call the ball. PILOT: (V.O.) Roger. One ball two point five. SHREWE: (SHOUTS) The ball! Did he call the ball!? Did the flier call the meatball? CUT TO: INT. PRI-FLY AIR BOSS: (INTO MIC) Get that green shirt off my deck! We've got an aircraft on final approach! CUT TO: EXT. FLIGHT DECK HANDLER: Shrewe, get off the deck!! SHREWE: (SHOUTS) Wave him off, Sir! Wave him off! Cable snap!!! (COD ABORTS THE LANDING) (SHREWE COLLAPSES ON THE DECK/CRYING /SHIVERING) CUT TO: INT. SICK BAY (DOOR OPENS/ CLOSES) CORPSMAN: You don't know for certain, but I don't think he's in any real danger now. I've got him pretty heavily sedated. GIBBS: What does it look like? CORPSMAN: I really won't know until the tox report comes through. GIBBS: I appreciate that, Doc, but I don't have time to wait for a tox report. In your considerable experience, what's your best guess? CORPSMAN: It looks like the same situation we have with Petty Officer Wilkes. KATE: Methamphetamines? CORPSMAN: Most likely. GIBBS: Chronic, long term use? CORPSMAN: With his symptoms, it would have to be. TONY: Yet his last random piss test was negative, just like Petty Officer Wilkes. CORPSMAN: Well, it doesn't make much sense. GIBBS: No, it doesn't. When can I talk with him? CORPSMAN: Well, that's hard for me to say, Agent Gibbs. GIBBS: Well, let me make it easier for you, Doc. Fifteen hundred. Consciousness will make the interview go much smoother. GIBBS: (V.O.) Toss Shrewe's rack. CUT TO: INT. HANGAR BAY - DAY TONY: Got it. GIBBS: Go over everything, and I mean everything. Above his mattress, below his mattress, inside his mattress. If there's such a thing as a fourth mattress dimension, go over that, too. Find out where the Urinalysis Coordinator likes to let it all hang out. KATE: Okay. GIBBS: I want to find out about this testing procedure. How it all works. See if there's any way that anyone can bat it. You and me, we're gonna have a flight deck film festival. See if you can arrange some place we can watch those tapes. BURLEY: I have one of the ready rooms on hold, boss. GIBBS: Always anticipating, Stan. Some things never change. MUSICAL BRIDGE TO: INT. BERTHING AREA - DAY TONY: Can I help you, Petty Officer? NILES: Lot of messy racks around here lately. TONY: Gonna be a lot more 'till we find what we're looking for. NILES: No disrespect, Sir, but like I told your partner, none of the guys on my crew.... TONY: (OVERLAP)...on my crew use drugs. I've heard the party line so many times it's like a bad song I can't get out of my head. NILES: You don't understand, Sir! TONY: I do understand! Two of your guys are in sick bay with enough meth in their bloodstreams to kll a herd of Navy goats. For a crew that doesn't do drugs, you guys sure do a lot of drugs. MUSICAL BRIDGE TO: INT. READY ROOM - DAY BURLEY: (V.O.) Got ants in his pants? GIBBS: (V.O.) Question is, who's putting them there? BURLEY: Rota was our last liberty port after we left the Gulf. GIBBS: This tape was done before they ht Rota. BURLEY: Well, maybe he stocked up at Naples or Nice. GIBBS: Is that the best you can do, Stan, after working under me five years? BURLEY: Well, at least I don't taint evidence when I bag and tag. GIBBS: I tripped. One time. BURLEY: As I remember, it was because your eyes were glued to some little... GIBBS: Do you mind if we get back to tape now? BURLEY: Sure, boss. GIBBS: We have a job to do, remember? BURLEY: I do, boss. GIBBS: Good. CUT TO: INT. PASSAGEWAY - DAY KATE: Petty Officer. GOMEZ: Ma'am? KATE: You just came out of the Urinalysis Coordinator's office. GOMEZ: I hope not, ma'am. I just got a hair cut in there. KATE: Go ahead. Tell me how many bulkheads, hatches and passageways I have to traverse to get there. GOMEZ: It's right next door. KATE: Of course it is. Thank you, Petty Officer. GOMEZ: No problem, Ma'am. CUT TO: INT. NORSKI'S OFFICE - DAY NORSKI: We don't do the actual testing on board. What we do is we collect the samples and record the data and ship them off to a land-based lab. KATE: Obviously with such a large crew, you test them in batches. NORSKI: The computer generates a random list - about twenty five or thirty a day. KATE: Do you....watch? NORSKI: Of course we watch. Someone from security accompanies them to the head and observes casually by mirror. KATE: And if someone wanted to bat it? NORSKI: Ma'am? KATE: (bat) The system. NORSKI: Oh. They try. Detox drinks, herbal tea, vinegar. Some try slipping bleach crystals in. Or even passing off a shipmate's clean sample as their own. KATE: How do they do that if they're being watched? NORSKI: You fill it up with someone else's urine, slip the balloon in your underwear and tape the tube to the underside of you... KATE: Ah, I get the picture. Obviously it didn't work. NORSKI: Well, balloons aren't the sturdiest of containers. If you want to examine it... KATE: That won't be necessary. How about the other methods that you mentioned? NORSKI: Most of them don't fly. But every once in a while one does slip through. No system's perfect. KATE: How about twice within six weeks? NORSKI: Unlikely, but like I said, anything's possible. CUT TO: INT. PASSAGEWAY - DAY TONY: Lost?(DOOR CLOSES) KATE: No. TONY: How's it going? KATE: What do you mean? TONY: You know what I mean. Finding your way around the ship and all. KATE: It's going fine. TONY: Good, I'm glad. Really glad. KATE: I admit, it was a little confusing at first. I had a few... you know... TONY: False starts. KATE: Complete disasters. But I think I've got a pretty good handle on it now. TONY: Good. CUT TO: INT. SICKBAY - DAY GIBBS: This is the second time I have had to come down here to talk to a member of your crew. SHREWE: I don't know what to tell you, Sir. GIBBS: Why don't you tell me how two members of the same crew who work the same team flip out on meth within a few days of each other? SHREWE: Meth? GIBBS: Yeah. It's a fine white powder cooked up in trailer parks. Makes people do funny things, like freak out on a flight deck with a plane on final approach. SHREWE: Sir, there's gotta be a mistake. I've never done drugs. GIBBS: Never? SHREWE: Not once in my life, Sir. It's against my morals. I feel the same way about alcohol and tobacco. GIBBS: Is that so? SHREWE: Yes, Sir. I even reported a guy for smoking some pot on my last cruise. GIBBS: Well, it makes a nice story to cover your own ass in case they catch you with the real deal. SHREWE: I'm telling the truth, Sir. (SFX: MACHINE SOLID BEEP TONE) MILANO: Code blue! We've got a code blue! DOCTOR: Crash cart! CORPSMAN: Coming in! DOCTOR: Start the charge. CORPSMAN: Lead lines in. DOCTOR: Charge to two hundred joules. CORPSMAN: Clear. DOCTOR: All clear! (SFX: ELECTRICAL SHOCK) MILANO: No response. DOCTOR: Three hundred joules! CORPSMAN: Charging. DOCTOR: All clear! (SFX: ELECTRICAL SHOCK) MILANO: Three sixty?(SFX: SOLID BEEP TONE B.G.) DOCTOR: Won't help. (MUSIC OUT) MUSIC IN: EXT. FLIGHT DECK - DAY VOICE OVER P.A.: (V.O.) ...Gentlemen. Keep your eyes peeled. Don't miss a thing. GIBBS: Wilkes was klled, probably because he was going to give up the supplier. TONY: Makes sense. KATE: Yeah, well what makes no sense is that these boys are involved at all. Now Wilkes was a proud Navy legacy, and Shrewe was a Boy Scout. GIBBS: That's what they want you to think. Drugs addicts learn the art of the con fast. KATE: Well, I had the lab that tested the urine samples send them to Abby for retesting. GIBBS: Good. TONY: Where's Burley? GIBBS: Watching more flight deck footage. TONY: Still? GIBBS: Yeah, he's been at it almost eighteen hours now. He's always been this way. I'll see how he's doing. (GIBBS WALKS O.S.) KATE: It's not the same thing you know. TONY: What? KATE: Well, you and Gibbs, Burley and Gibbs. TONY: What are you talking about? KATE: It was a different dynamic, you know, a different time. You can't compare the relationships. TONY: Who's comparing? KATE: All I'm saying is that things on the surface are not always the same as when you put them in context with the way they actually developed, you know, under the surface... kind of. TONY: I have no idea what you said. KATE: Neither do I. But the intent was sincere. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Petty Officer Robert Wilkes. You are a bit of a puzzle, aren't you, my lad? A secured room, no sign of trauma. JACKSON: No bruising or ligature marks. DUCKY: Let's rule out strangulation; if that's okay by you. JACKSON: Color's good. No cyanosis. DUCKY: You weren't suffocated by a pillow. Poisoned, perhaps? Well, we'll soon see. You'll tell Ducky everything eventually. They all do, you know. CUT TO: INT. READY ROOM -- DAY GIBBS: I brought you a bagel. BURLEY: You remembered! Bacon, sausage, eggs, onions, cream cheese and jalapenos. GIBBS: You want to fill me in here? BURLEY: This is interesting. (BURLEY AND GIBBS WATCH THE MONITOR) GIBBS: What is Chief Petty Officer Reyes handing them? BURLEY: It's hard to tell from this distance. GIBBS: Can you get closer? BURLEY: We'll have to enhance the tape. GIBBS: Uplink the footage to Abby. First find DiNozzo and Kate. Have then check out the Air Boss's take on Reyes. You have a glob on your shirt there, Stan. CUT TO: EXT. FLIGHT DECK CHIEF REYES: (SHOUTS) Twenty five more burpies! Get on it! Let's go! Let's go!(MEN EXERCISE B.G.) CUT TO: INT. PRI-FLY AIR BOSS: Chief Reyes is one of the most committed men I've ever worked with.(SFX: CHIEF REYES CONTINUES B.G.) KATE: He runs his crew hard. AIR BOSS: And they appreciate him for it. TONY: Aside from the two incidents, have you noticed anything out of the ordinary the past few weeks? AIR BOSS: Not unless you consider a fifty percent above average performance out of the ordinary. KATE: That's quite a record. AIR BOSS: With two new guys, he's falling behind a little but that's expected. He'll get them up to speed. He always does. (CAMERA ANGLE CLOSE ON CHIEF REYES) CHIEF REYES: Come on! Let's go! Work it! Work it!(CHIEF REYES CONTINUES B.G.) KATE: Why get them up to speed at all? It's only a rescue mission after which they're going home. AIR BOSS: Because that's Chief Reyes, Ma'am. CHIEF REYES: (SHOUTS/V.O.) Work it out! Work it out! CUT TO: EXT. FLIGHT DECK CHIEF REYES: What's your problem, Hatcher? Getting winded? Girlfriend teach you anything about stamina?! You're playing catch-up! Lose this race, you'll be tooth brushing urinals. Think this wasn't a race, huh? You just thought it was an exercise! Well, well. We finally found something you're good at, Hatcher. Lying down! What are you looking at, Stewart? Did I say stop? Give me twenty five more! Let's go! Let's go! CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Well here is Petty Officer Wilkes with an I.V. drip going into his arm. (ON MONITOR) Please, Gerald, this is not dinner theater. Suppose someone (ON CAMERA) disconnected his I.V. tube at both ends and blew (V.O.) all the liquid out of the tube, leaving (ON MONITOR) nothing but air. Suppose they emptied the (ON CAMERA) saline bag half way... that should be about it. The I.V. tube is attached. This blue balloon taped to Gerald's arm represents his vein. (V.O.) And the valve is inserted (ON MONITOR) into the bag. Air (ON CAMERA) is blown into the tube using this one way valve. The air is trapped. When I open the flow rate valve, and squeeze, air is pushed down the tube and into the vein and death occurs....oh, within sixty seconds. (SFX: WATER POURS INTO THE BOWL) (GERALD SIMULATES DEATH) (SCENE CUT) DUCKY: (ON MONITOR) I do apologize. TONY: So that's what klled Wilkes? (SCENE CUT) DUCKY: I'm pretty certain. (SCENE CUT) KATE: Any way the air could have gotten into the line accidentally? DUCKY: (ON MONITOR) Normal air is less than one percent carbon dioxide. (SCENE CUT) DUCKY: The gas bubble in Wilkes' heart was six percent c-oh-two. GERALD: That's not air, that was breath. It was deliberate. (SCENE CUT) GIBBS: So Duck, this would have had to have been done by someone with medical knowledge? GERALD: (ON MONITOR) Most certainly. DUCKY: (ON MONITOR) You're supposed to be dad. KATE: I'll see what I can find. GIBBS: I'll have Burley meet me in sickbay.(KATE AND GIBBS WALK O.S.) TONY: Burley's probably got his hands full uplinking the tapes. If you want, I'd be happy to...! (DOOR CLOSES) (END TELEPHONE INTERCUTS) MUSICAL BRIDGE TO: INT. SICK BAY - DAY MILANO: I had no reason to kll Petty Officer Wilkes, Sir. GIBBS: Not unless you were supplying him methamphetamines and you were afraid he would talk. MILANO: I wasn't. GIBBS: Your prints were all over that saline bag. MILANO: Sir, I was the attending corpsman. My prints are supposed to be on that bag. Petty Officer Wilkes was alive when I went to change that bag out. When I came back he was dad. That's the truth, Sir. Give me a polygraph, anything! But that is the truth. MUSICAL BRIDGE TO: INT. SICKBAY WAITING AREA - DAY (DOOR CLOSES) GIBBS: Where have you been? BURLEY: Waiting for a print match. GIBBS: You were supposed to meet me here, Stan. BURLEY: I thought this was more important. GIBBS: Why don't you let me be the judge of what's more important? BURLEY: Yes, boss. GIBBS: I mean, that is why you called me, right? BURLEY: Gee, it's funny how it's all starting to come back to me now. GIBBS: What's that? BURLEY: The tightness in my chest, the upset stomach. All the pleasantries that come with working for you. GIBBS: Your breathing's not labored. You're fine. What have you got? BURLEY: There were a second set of prints on the saline bag. GIBBS: Wilkes. BURLEY: You knew he used to be an EMT. GIBBS: You think he klled himself? BURLEY: One of the doctors bent a few rules, let Wilkes take a call from his father. His very proud... retired Chief Petty Officer father. CUT TO: INT. READY ROOM ABBY: (ON MONITOR) So Wilkes' urine was clean. No nasty metabolites, no additives. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: There's just one tiny problem. Look at this. (V.O.) It's the exact (ON CAMERA) same urine as Petty Officer Shrewe.(SFX: BEEP TONES) (SCENE CUT) KATE: Someone's replacing their samples. TONY: The Urinalysis Coordinator? KATE: Maybe. Or maybe one of the twenty five Masters at Arms he uses to monitor. (SCENE CUT) TONY: We need to look at the records of all the people on pee patrol. ABBY: (ON MONITOR) So is anybody happy about this? (SCENE CUT) ABBY: Is anybody freaked out? It would be nice to have somebody here. (SCENE CUT) KATE: Sorry, Abby. It's just that we've both really got to go. ABBY: (ON MONITOR) What do you want me to do with all this pee? (END TELEPHONE INTERCUTS) CUT TO: INT. PASSAGEWAY - DAY TONY: No, it's three seventy six nine A. We're at five forty five seven E. We need to go up two levels, over to port and then three bulkheads aft. KATE: No, which is why we need to up one level so we can traverse port before heading out. TONY: The ladder two bulkheads down takes us up and across. Is this going to turn into one of those guy/girl things where you insist we stop and ask for directions? KATE: Oh, no. Because unlike you, I know where I'm going. TONY: Then be my guest. I'll be in Admin! (MUSIC OVER ACTION/KATE AND TONY WALK IN THE CORRIDORS) (VOICE OVER P.A. B.G.) (DOOR OPENS) CLERK: Can I help you? KATE: Special Agent Kate Todd, NCIS. I need to see some record books, please. MUSICAL BRIDGE TO: INT. PASSAGEWAY (MUSIC OVER ACTION/TONY WATCHES THE MEN IN THE LAUNDRY FACILITY) SEAMAN: (V.O.) Excuse me, Sir. ABBY: (V.O.) I was able to bring it way up. MUSICAL BRIDGE TO: INT. NCIS LAB - DAY ABBY: Take a look at this.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) BURLEY: Much better. GIBBS: Right there! Abby, can you get us in closer? (SCENE CUT) ABBY: Patience, Gibbs. You can't rush art. (V.O.) Smart money says (ON CAMERA) that that is not a Tic Tac. (END TELEPHONE INTERCUTS) MUSICAL BRIDGE TO: EXT. FLIGHT DECK - DAY (SFX: JET LANDS B.G.) CHIEF REYES: Let's go! Let's go! Let's go! Let's go! GIBBS: Chief Reyes? CHIEF REYES: Yes. GIBBS: We haven't been introduced. Special Agent Gibbs, NCIS. You already know Special Agent Burley. CHIEF REYES: What can I do for you, Sir? GIBBS: You can give me one of those capsules you gave Petty Officer Wilkes during Flight Ops. CHIEF REYES: Sir? BURLEY: We have it all on a flight deck tape, Chief. CHIEF REYES: You can see a capsule from that camera up there? GIBBS: We had it digitally enhanced. I can see the hairs standing up on the back of your neck. CHIEF REYES: What do you think those are, Sir? BURLEY: Meth, Chief. CHIEF REYES: Meth? That's ninety eight percent caffeine. Available over the counter at any pharmacy in Norfolk. Coffee's not allowed on the deck so I give it to my men to keep them going. I would never do anything to jeopardize these men, Sir. I love these men....and I would die for these men. (MUSIC OUT) FADE IN: INT. BURLEY'S OFFICE BURLEY: Standard test pouches. Just like I used in Baltimore. GIBBS: Yeah, DiNozzo was a Baltimore cop before coming to us. BURLEY: Is that right? How long? TONY: Almost two years. BURLEY: And before that? TONY: Philly P.D. KATE: Eighteen months, right? TONY: There were extenuating circumstances. KATE: And what was before Philly, I forgot. Pittsburgh? TONY: Peoria. KATE: Right. TONY: And it doesn't matter how long. All that matters now is that I'm here at NCIS. KATE: Oh, and you've been here for um... refresh my memory... TONY: Two years. What did you do before NCIS, Burley? BURLEY: Ah, just pushing papers around in Washington. TONY: Well, I'm sure it wasn't so bad. GIBBS: How bad can being a Senator's Aide be? BURLEY: It wasn't me. GIBBS: DiNozzo, the kit. TONY: Yeah. The way it works? Simple. Place a small sample of the suspected substance inside the pouch. Seal it. Break the ampoule inside the pouch which releases the test chemicals. If the clear liquid turns a color, we have drugs. (bat) Not meth. GIBBS: Well, that pouch might be clear, but my gut's still in living color. All right, get a search authorization. Sweep Chief Petty Officer Reyes' rack. Wait until he's occupied with Flight Ops in the morning. CUT TO: EXT. FLIGHT DECK - DAY (SFX: JET LANDS B.G.) CHIEF REYES: (SHOUTS) Now! Now! Now! Now! Move it! Move it! Move it! Move it! AIR BOSS: (V.O./FILTERED) Bridge. Air Boss. CUT TO: INT. BRIDGE - DAY ARBRING: (INTO RADIO) Go Boss. AIR BOSS: (OVER P.A.) Skipper, Mauler Two has located the yacht. There are survivors in the water. One hundred and fifty three miles out on two six zero. ARBRING: (INTO RADIO) Launch the rescue bird. AIR BOSS: (V.O./FILTERED) Aye aye, Sir. MUSICAL BRIDGE TO: INT. REYES' QUARTERS BURLEY: There's nothing here. KATE: Nothing that's obvious anyway. TONY: I say it's time we turn off the lights and play in the dark. (PASSAGE OF TIME) TONY: Anywhere Chief Petty Officer Reyes touches can leave residue. KATE: I might have something here. BURLEY: Could be toothpaste. TONY: Could be meth. Bag it. KATE: Hold it. Tony? CUT TO: INT. BURLEY'S OFFICE (TONY TESTS THE SUBSTANCE) TONY: No, it looks the same as the Alert capsule we tested. KATE: You think we're barking up the wrong tree? GIBBS: Actually, I was thinking just the opposite. Why have the contents of an Alert capsule loose on your locker shelf? BURLEY: Unless you emptied it so you can fill it up with something else. KATE: Then why didn't we find traces of speed? TONY: Because you can be sure Reyes is taking extra precautions with a substance that can put him away. KATE: Okay. Then how do we link Reyes to the meth? GIBBS: By going to the one guy from the original crew who still might be holding some. CUT TO: INT. HANGAR BAY - DAY (NILES WORKS OUT ON THE BAG B.G.) GIBBS: Whoa, a little jumpy today, Petty Officer. NILES: Nah, you know, I just get a little nervous when it gets close to duty time. GIBBS: Reyes works you hard on that flight deck. NILES: Yes, Sir. You've got to keep on top of it. GIBBS: Sounds exhausting to me. NILES: Nothing I can't handle, Sir. GIBBS: Especially when you have yourself a little pick me up. NILES: Sir, I don't know how many times we gotta go over this, but I... GIBBS: (OVERLAP) This is the last time, I promise. My crew is tossing your rack as we speak. NILES: They're not going to find anything. GIBBS: Maybe that's because you have it on you. NILES: You want to search me? Go ahead. But I'm telling you the only pick me up I use is a cup of coffee before I go on duty and a couple of these when I'm on deck! GIBBS: Mind if I hang onto these? NILES: No, Sir! MUSICAL BRIDGE TO: INT. BURLEY'S OFFICE BURLEY: Meth disguised as caffeine capsules. GIBBS: I'm assuming you didn't find anything in Petty Officer Niles' rack. TONY: Clean as a whistle. KATE: They've been telling the truth all along. They were getting hooked and they didn't even know they were using. BURLEY: How in the hell could a Chief feed his own guys speed? KATE: Are we going to bring him in now? GIBBS: Not yet. All we have is a Petty Officer in possession who claims his highly regarded superior gave it to him without his knowledge. BURLEY: Won't fly well with JAG. GIBBS: We want to get him with the evidence in hand. MUSICAL BRIDGE TO: INT. PRI-FLY - DAY (SFX: JET LANDS B.G.) AIR BOSS: I'm a little worried about your crew, Chief. They're not where they should be. CHIEF REYES: I'm pushing them, Sir, but I've got two new guys. AIR BOSS: Then push them harder. Your boys have to be sharp. CHIEF REYES: They will be, Sir. AIR BOSS: I hope so, Chief. This will be our last Ops before we head back home. I'd sure hate to go out on a low note, not after what we've all accomplished. CHIEF REYES: I won't let you down, Sir. AIR BOSS: I know you won't. MUSICAL BRIDGE TO: INT. BRIDGE - DAY XO: The Air Boss, Sir. AIR BOSS: (V.O./FILTERED) I didn't like it, Skipper, but I did it. ARBRING: (INTO PHONE) I appreciate it, Commander. MUSICAL BRIDGE TO: INT. PASSAGE WAY - DAY (MUSIC OVER ACTION/CHIEF REYES OPENS DOOR) MUSICAL BRIDGE TO: INT. BRIDGE - DAY AIR BOSS: (V.O./FILTERED) Rescue One is on location and has commenced rescue operations. CUT TO: INT. HELICOPTER - DAY VOICE: Bring them on up! CUT TO: INT. BRIDGE - DAY HELO PILOT: (V.O.) We have two survivors on board. Returning home. ARBRING: Well done, Rescue One. (TO XO) Alert sickbay to stand by for casualties. Recall the search aircraft. CREWMAN: Yes, sir. MUSICAL BRIDGE TO: INT. PASSAGEWAY - DAY (MUSIC OVER ACTION/CHIEF REYES CLOSES THE DOOR AND WALKS DOWN THE CORRIDOR) (BURLEY/TONY AND KATE WALK INTO THE ROOM) CUT TO: INT. NORSKI'S OFFICE TONY: As you have probably already guessed, we're not here to make a deposit. (DOOR CLOSES) KATE: More like a withdrawal, actually. NORSKI: I'm not sure I know what you're getting at. BURLEY: Oh, I think you do, Lieutenant. Your service record indicates you and Chief Reyes have served on three different ships together. KATE: On each one, the Chief's crew had the distinction of maintaining the highest performance rating. TONY: Thanks, of course, to his capsules and your help in covering up the urine tests. BURLEY: It's over, Lieutenant. Before you pee in your pants, why don't you show us where he keeps his stash. MUSICAL BRIDGE TO: EXT. FLIGHT DECK - DAY (MUSIC OVER ACTION/HELO LANDS AND UNLOADS PASSENGERS) MUSICAL BRIDGE TO: INT. BRIDGE - DAY ARBRING: Have all search aircraft been recovered. XO: Last two aircraft are down, Sir. ARBRING: Take us home. XO: Aye aye, Sir. Set your course two seven zero. CUT TO: INT. HANGAR BAY - DAY (DOOR OPENS) CHIEF REYES: Why the hell aren't you on the flight deck, Niles? NILES: I don't know, Chief. I ain't felling so hot right now. CHIEF REYES: What do you mean you don't know? We've got aircraft coming in! NILES: I'm bat, man. I don't know what's wrong with me. CHIEF REYES: You've got to get it together, Petty Officer. You've got to suck it up! NILES: I don't think I can, Chief. CHIEF REYES: Come here. This should help you out. NILES: Just one, Chief? CHIEF REYES: Now get the hell on the deck. (MUSIC OVER ACTION/NILES LOOKS AT CHIEF REYES) CHIEF REYES: That's okay, son. You followed orders. That's what a good sailor does. Go on, now. GIBBS: Thanks. CHIEF REYES: These men spent ten months in the Gulf, combat conditions. Twelve hours a day, one hundred and ten degrees on the deck. GIBBS: With you in their face, pumping them up with meth. CHIEF REYES: I gave my men something to help them do their jobs better, and it worked. GIBBS: Explain that to Wilkes's family. CHIEF REYES: I'm sorry about what happened, but I'm not going to make excuses. We got our planes on the deck and out of harms way faster than any other crew. Wilkes was a casualty of wr, Agent Gibbs. A hero. GIBBS: Yes, he was, Chief. He was also a victim of a leader who betrayed his trust. CUT TO: EXT. FLIGHT DECK - DAY BURLEY: I have to say it was like déja vu working with you again, boss. GIBBS: Good déja vu or bad? BURLEY: Good. GIBBS AND BURLEY: (IN UNISON) And bad. BURLEY: You know, boss, in all seriousness, you know how much it means to me that... GIBBS: Ah hell, Stan, you're gonna get all huggy on me? BURLEY: I guess I'm not. GIBBS: I didn't think so. 'Bye. BURLEY: 'Bye. KATE: See you, Stan. Thanks. (GIBBS AND KATE WALK O.S.) TONY: You know, in the two years I've worked for Gibbs, he's never shaken my hand once. Never. BURLEY: I was in the office two years before he even looked me in the eye. TONY: Really? BURLEY: And three weeks before he called me by name. Four 'till he got it right. By then I'd actually gotten used to Steve. He must really like you. TONY: Thanks. CUT TO: INT. COD - DAY GIBBS: The CAT launch is like the wire landing, only in reverse. We go from zero to a hundred and forty knots in a second and a half. TONY: It's kind of like sex without all that work. KATE: Everything is like sex to you, Tony. GIBBS: Cross your arms, chin to your chest. Lean forward as far as you can. KATE: And breathe normally. CUT TO: EXT. FLIGHT DECK - DAY (MUSIC OVER ACTION/COD LAUNCHES) GIBBS: (V.O.) How are you doing, Kate? Kate? DiNozzo, how's she doing? TONY: (V.O.) She's smiling. (ENDING CREDITS UP) (MUSIC OUT) (MUSIC UP OVER ENDING TITLE AND CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x06 - High Seas"}	foreverdreaming
MUSIC IN: EXT. LOADING DOCK - DAY (JEB LAUGHS B.G.) HOBIE: I cannot believe they lost. JEB: I can't believe you gave me six points. So what have you got for me today? HOBIE: Just these drums here. JEB: All righty, sweet cheeks. (MUSIC OVER ACTION/HOBIE LOADS THE DRUMS ONTO THE TRUCK) JEB: Whoa! Whoa! Whoa! Whoa! (MUSIC OVER ACTION/DRUM FALLS FROM THE TRUCK) (JEB COUGHS B.G.) HOBIE: Oh, man. I'm going to be cleaning up this mess for days! JEB: What the hell is that? (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "SUB ROSA" TONY: (INTO PHONE) No, the best thing is for you to do nothing. Okay, Agent McGee? Just secure the area and wait for us to get there. Okay. (TO KATE) Case Agent at Norfolk sounds pretty green. You look like hell. KATE: A woman loves to hear that, Tony. TONY: If you're coming down with something, don't sit next to me in the truck. KATE: Oh, there's an upside to having a cold. TONY: You want to tell the doctor about it? GIBBS: Are you guys ready to go? KATE: Uh... all set. Uh, yeah. And Ducky and Jackson are already on their way. (SFX: COFFEE SPILLS) KATE: Oh, God! Oh, god, I'm sorry. Uh... what do you put in your coffee? GIBBS: Coffee. KATE: Okay, I'll just go down the hall and get you another cup. GIBBS: That's not coffee. I'll meet you in the truck. (GIBBS WALKS O.S.) TONY: I've never experienced Gibbs without his morning coffee. We're in uncharted waters here, Kate. MUSICAL BRIDGE TO: EXT. DOCK - DAY DUCKY: Yeah, there are multiple purposes for hydrofluoric acid on a Naval Base. It's most commonly used to surface clean metal. It's highly corrosive, readily penetrates human skin, destroying soft tissue and decalcifying bone. And from the look of this fellow, I'd say he wasn't in that drum very long. I'd venture less than twenty four hours. TONY: Worst case of acid indigestion I've ever seen. GIBBS: Hey. Better get Michael Jackson out of here before he ralphs. TONY: Come on, McGee. Help me take measurements for the sketches. GIBBS: Was he wearing crcker Jacks, Duck? DUCKY: Yeah. Definitely enlisted. We're not going to get fingerprints, but on the left forearm - a bit of skin attached and some discoloration. KATE: A birthmark? DUCKY: Possibly. I'll be able to tell more when I get him home. KATE: The Armed Forces DNA registry can get us a match. GIBBS: They're backlogged. I wouldn't count on anything for at least forty eight hours. (GIBBS WALKS TO MCGEE AND PICKS UP HIS BRIEFCASE/ WALKS O.S.) MCGEE: I've heard stories about Special Agent Gibbs. TONY: Only half of them are true. The trick is figuring out which half. MUSICAL BRIDGE TO: EXT. MAIN GATE - DAY GIBBS: With inspection procedures as tight as they are, he was probably mrder on base.(PROTESTERS B.G.) PEREZ: They didn't get him past us in the trunk of a car. GIBBS: That means he had to be mrder by someone with clearance. PEREZ: Yes, Sir. GIBBS: Anyone reported missing? PEREZ: We had a U.A. Seaman last week, but he was picked up at his home. GIBBS: Whale huggers? PEREZ: Yes, sir. They've been bugging us for weeks. GIBBS: Why don't you just sht them? PEREZ: I've been tempted. CUT TO: EXT. LOADING DOCK - NIGHT GIBBS: We have to keep the crime scene under guard until it's released by Gibbs. MCGEE: I'll let security know. TONY: Gibbs wants NCIS to remain in control. MCGEE: So I should stay here? TONY: We'll get you relieved as soon as we can. MCGEE: Okay.(DOOR OPENS/ CLOSES) KATE: Why are you making him stay here? TONY: Because I can. KATE: That is a complete abuse of authority. TONY: Lighten up. He's new. He expects to be abused. It goes with the territory. KATE: This isn't pledge week at Sigma Chi, Tony. TONY: I'll bet you were a lot of fun in college. KATE: I was a lot of fun in college. TONY: Really? CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Fortunately, your facial bone structure is intact. With these photos, Abby will be able to build a computer model. Not a model you'd want on your mantle piece, but she'll do the best she can. (DOORS OPEN) JACKSON: Abby is getting Gibbs on the line. DUCKY: Ah. Would you? JACKSON: Sure. CUT TO: INT. MCGEE'S OFFICE - DAY ABBY: (ON MONITOR) Good morning, guys.(BEGIN TELEPHONE INTERCUTS) GIBBS: (INTO PHONE) Where's Ducky? (SCENE CUT) DUCKY: (INTO PHONE) Right here, Jethro. GIBBS: (V.O./FILTERED) Have you got a name? DUCKY: (INTO PHONE) Ah, we're good but we're not that good. (SCENE CUT) GIBBS: (INTO PHONE) Well, what do you got that's good, Duck. DUCKY: (FILTERED/ON MONITOR) Ah, death was from blunt force injury. (V.O.) There's a fracture to the rear of the skull. GIBBS: (INTO PHONE) That's it? DUCKY: (V.O./FILTERED) No. (SCENE CUT) DUCKY: (INTO PHONE) You remember that discoloration on the forearm we thought might be a... (SCENE CUT) DUCKY: (ON MONITOR)...birthmark? Well, it wasn't. (SCENE CUT) ABBY: (INTO PHONE) I digitally enhanced it. Watch.(SFX: COMPUTER BEEP TONES B.G.) (SCENE CUT) KATE: (INTO PHONE) It looks like a Rorschach test. (SCENE CUT) ABBY: (V.O.) It's part of a tattoo that was blurred by the acid. TONY: (V.O./FILTERED) What is that? ABBY: (INTO PHONE) That is the tail of a dolphin. (SCENE CUT) GIBBS: (INTO PHONE) Our victim was a submariner. DUCKY: (V.O./FILTERED) Well, that would be a good guess. You know, the history of... (SCENE CUT) DUCKY: (INTO PHONE) ...of tattooing is fascinating. Egyptian...(CONTINUES B.G.).... (SCENE CUT) GIBBS: How many subs in port?(DUCKY CONTINUES B.G.) MCGEE: Um... I'm copied on the daily movement report. DUCKY: (V.O./FILTERED) ... preserved mummy. A woman of thieves, yes, whose tomb indicates that she was... TONY: Interesting filing system, McGee.(DUCKY CONTINUES B.G.) MCGEE: Um... three Los Angeles class attck subs in port at the moment. Another in dry dock. There were five, but the Philadelphia left at zero six hundred. GIBBS: Get me copies of the ship's alpha rosters. MCGEE: I'm on it. GIBBS: (V.O./FILTERED)...around the pelvic region below the naval. Now this non-representational geometric style of tattooing... MUSICAL BRIDGE TO: EXT. DOCK - DAY GIBBS: What if the body was put into acid not only to dispose of it, but... KATE: But to make certain that it couldn't be identified. TONY: Maybe the mrder didn't want us to know the submariner was dad. GIBBS: Maybe. MCGEE: Agent Gibbs! The alpha rosters. Everyone on the sub crews is accounted for. GIBBS: Including the Philadelphia? MCGEE: Yes, Sir. GIBBS: A submariner's dad, but none are missing. And the dad man's identity was removed. Someone took his place on one of those subs. KATE: An imposter? GIBBS: Let's pay a visit to the Submarine Squadron Commander. MCGEE: You want to avoid Captain Veitch. GIBBS: What? MCGEE: Um... well, I met him once before. Um... and he can be very difficult. GIBBS: And you don't think that I can be difficult? MCGEE: Um... I'm sure you can, Sir. MUSICAL BRIDGE TO: INT. VEITCH'S OFFICE - DAY VEITCH: You're telling me somebody klled one of my sub crew members to take his place? GIBBS: I think it's a very real possibility. VEITCH: Not on my watch, Agent Gibbs. GIBBS: Can you take that chance, Captain? It would have to be someone new. Humor me. VEITCH: All right. I'll beef up security around the boats in port. Have every new crew members I.D. card checked against their service record. GIBBS: What about the Philadelphia? VEITCH: She's a day out. GIBBS: Maybe you should call her back. VEITCH: Agent Gibbs, the Philadelphia is about to join a NATO exercise in the Atlantic. And your theory is highly speculative if not preposterous. I'm not about to bring her back. GIBBS: Then send Special Agent Todd and me to rendezvous with her and interview the new crew members. VEITCH: Well, the presence of a woman on board a submarine is a tremendous inconvenience. You know that. GIBBS: I do. VEITCH: Don't you have another agent that you can take with you? GIBBS: I do. Kate, step out. (KATE WALKS O.S.) (DOOR OPENS/ CLOSES) VEITCH: Glad you understand. GIBBS: I don't. VEITCH: Excuse me? GIBBS: Don't tell me how to run an investigation. Yeah, I've got other agents who can do the job but none as well as Special Agent Todd. Formerly she was attached to the President's Secret Service detail. Trained as a profiler. VEITCH: I don't care what she was trained for. She's a woman! And females cannot be deployed on a submarine! MUSICAL BRIDGE TO: EXT. OFFICE BUILDING - DAY KATE: What is this, Victorian England? The men with their cigars and brandy, while the ladies sip tea in another room? I'm more qualified for this investigation than Tony. To replace me because I shave my legs and not my face is unconscionable and certainly not in the best interest of the case. GIBBS: Are you claustrophobic? KATE: No. GIBBS: Good! KATE: I'm going? TONY: Don't forget to wax. (MUSIC OUT) MUSIC IN: INT. COD - DAY KATE: I think I'm more excited to dive on a nuclear sub than I was flying Air Force One. GIBBS: See if you're still as excited by the time we get there. (INTERCUT SCENE/ COD LANDS ON THE CARRIER) AIR OFFICER: Special Agent Gibbs. Special Agent Todd. Welcome to the Enterprise. Sorry your stay's so short. Your helo's standing by. CUT TO: INT. HELICOPTER - DAY KATE: How do we get from the frigate to the submarine? Swim? GIBBS: Close. (INTERCUT SCENE/ HELICOPTER LANDS B.G.) CUT TO: INT. WHALE BOAT - DAY KATE: I don't see a submarine. (SUBMARINE BURSTS THROUGH THE WATER) GIBBS: You see it now? CUT TO: INT. CONTROL ROOM - DAY X.O.: (INTO MIC) Deck is clear. Hatch secured. SKIPPER: Submerge the boat. Make depth two five zero feet. X.O.: Submerge the boat. Make our depth two five zero feet. Chief of the Watch on the One M C. Dive! Dive! Dive! Dive! Dive! (WARNING HORN B.G.) (INTERCUT SCENE OF SUBMARINE SUBMERGING) COB: (V.O.) ...five zero feet and passing. SKIPPER: Welcome aboard the Philadelphia. I'm Commander Peters. This is my X.O., Lieutenant Commander Akron. AKRON: Sir. GIBBS: Special Agent Gibbs. Special Agent Todd. AKRON: (V.O.) Can I help you with that, Ma'am? KATE: No, I'm good. SKIPPER: Why don't we go to the wardroom? X.O., take the Con. X.O.: Aye aye, Skipper. COB, I have the Con. CUT TO: INT. WARDROOM - DAY SKIPPER: I've quarantined the five men as requested. They said you'd fill me in. Fill me in, Special Agent Gibbs.(DOOR OPENS) GIBBS: One of those men may not be who he says he is. SKIPPER: I find that hard to believe. GIBBS: A body was found at Norfolk. It was made unidentifiable, possibly on purpose. We have good reason to believe that he was a submariner. KATE: Fifteen of your crew are new. Four have been eliminated by dental x-rays. Six can be ruled out because of ethnic origin or body type. SKIPPER: So that's it? Your conclusions are based on suppositions? GIBBS: Strong suppositions. SKIPPER: I interviewed every one of those men when they boarded and examined their personnel files before they ever set foot on this boat. GIBBS: We'd like that same opportunity, Skipper. SKIPPER: You'll get your interviews, Agent Gibbs, but you need to understand this boat's about to commence an A-S-W exercise. GIBBS: Anti-Submarine Warfare. An enemy sub tries to infiltrate the carrier battle group. SKIPPER: We're tasked with intercepting and destroying it... theoretically, anyway. KATE: One of our subs plays the enemy? SKIPPER: The Augusta. Her Skipper and I have a bottle of Stoli riding on who wins. So you can see why I want those five men back at their duty stations, A-SAP. GIBBS: Well, we have a better reason keeping one of those men out of their duty stations, Skipper. I'd like the COB for security purposes to keep the men from talking to each other. SKIPPER: That's affirmative. (DOOR OPENS/ CLOSES) GIBBS: COB. Chief of the Boat. KATE: Thank you. GIBBS: You're welcome. CUT TO: INT. NCIS LAB - DAY (SFX: MUSIC PLAYS B.G.) DUCKY: Ah, it's coming along. ABBY: Yeah. It looks like he's going to be kind of a hunk. He's got a good strong chin. DUCKY: I agree. Sort of Cary Grant-ish. ABBY: I was thinking more Hugh Grant-ish. DUCKY: Any luck with his stomach contents? ABBY: Well, there's good news and bad news. DUCKY: I hate it when you play this game, Abby. All right, let's get it over with. ABBY: His last meal was a Big Mac and fries. DUCKY: Probably half the base had that for lunch. I was hoping you'd come up with something a little more exotic. Tandoori, perhaps. And the good news? ABBY: I know what's in the Special Sauce. CUT TO: INT. WARDROOM - DAY (KNOCK ON DOOR) GIBBS: Enter. (DOOR OPENS) GIBBS: Petty Officer Drew. DREW: Yes, Sir. GIBBS: Have a seat. DREW: Yes, Sir. KATE: Would you give us your right thumb print, please? GIBBS: That would be your other right thumb, Petty Officer. DREW: Oh. Sorry, Sir. I'm a little nervous. GIBBS: It says here you're from Boston. DREW: South Boston actually, Sir. GIBBS: There is a difference? DREW: Well, if you're from Boston there is. GIBBS: You just joined the ship from the... DREW: The Topeka, Sir. S-S-N Seven Fifty Four out of San Diego. KATE: Did you request sonar? DREW: Yes, Ma'am. I talked to the recruiter about it. I've always been into electronics. I built my own guitar amp when I was a kid. (PASSAGE OF TIME) GIBBS: You enlisted when you were nineteen, Petty Officer Thompson? THOMPSON: Right out of high school, Sir. KATE: Nineteen? That's old to graduate high school. THOMPSON: I got Mono. I was home my junior year. They put me back. May I ask what this is about? GIBBS: No. KATE: I need your thumb print, please. CUT TO: INT. BERTHING - DAY DREW: What'd they ask you? THOMPSON: Stupid stuff. About my high school... COB: Thompson! You heard the man. There is no discussing your interview! THOMPSON: Aye aye, COB. CUT TO: INT. WARDROOM - DAY GIBBS: Petty Officer Thompson was lying about graduating high school at nineteen. KATE: He paused and looked to his left. Usually means the response is fabricated. If he would have looked to his right, he'd be recalling a memory. GIBBS: (OVERLAP) A memory. KATE: You've had profile training. GIBBS: What I have had is about a thousand interviews. After awhile you start picking up on things. KATE: Why would Thompson lie about his age? GIBBS: I don't know. Why did Seaman Riggs lie about being married? Why did Petty Officer Drew lie about a year in college? KATE: Well, maybe Riggs is secretly married and Drew never finished a full year. GIBBS: Everybody has something to lie about....which means we have nothing. MUSICAL BRIDGE TO: INT. CONTROL ROOM SKIPPER: Sonar, still no sign of Augusta? SONAR: No joy, Sir. SKIPPER: Let's come about for another pass. SONAR: Aye aye, Sir. SKIPPER: I understand you've completed your interviews. GIBBS: For now. SKIPPER: I need them at their duty stations. GIBBS: I'm concerned about the safety of your boat, Skipper. SKIPPER: Your concern will be noted. XO, have the COB return the men to duty. X.O.: Aye aye, Skipper. GIBBS: How could someone harm this boat from the inside? SKIPPER: We're vulnerable to any number of things. Chlorine introduced to the recirculated air could be fatal to the crew. Salt water in the battery compartment could cause an explsin. The mssile and torpedoes are obvious dangers. I could go on, but what's the point? GIBBS: The point is one of those men may be an intruder. SKIPPER: I don't believe that to be the case. I trust every man on this crew. I'll make arrangements to get you back to the carrier. GIBBS: We'll leave, Skipper, when we're done. Not before. MUSICAL BRIDGE TO: INT. NCIS LAB - DAY DUCKY: You were right, Abby. He's quite a handsome fellow. ABBY: Yeah, unfortunately he doesn't look like any of the guys that Gibbs suspects. DUCKY: Could our leader's golden gut be wrong this time? ABBY: I've got to email this dude to Tony and see if anyone at Norfolk recognizes him. CUT TO: INT. MCGEE'S OFFICE - DAY ABBY: (V.O./FILTERED) Do you see it yet?(SFX: BEEP TONE) (BEGIN TELEPHONE INTERCUTS) TONY: (INTO PHONE) Yeah, it's coming through. (SCENE CUT) ABBY: (INTO PHONE) So are you getting lonely down there by yourself, hon? (SCENE CUT) TONY: (INTO PHONE) Oh, I'm not alone. I'm with Special Agent McGee. Say hello. ABBY: (V.O./FILTERED) Hey McGee. How's your Sig hanging? MCGEE: (INTO PHONE) Uh... TONY: (INTO PHONE) Gotta go, Ab.(END TELEPHONE INTERCUTS) MCGEE: What's she look like? TONY: Who? MCGEE: Abby. She sounds cute. TONY: Not your type. MCGEE: Well how do you know that? TONY: Have you ever had the slightest urge to tattoo your buttocks, McGee? MCGEE: I don't think so. TONY: Then we need never speak of her again. Make copies and circulate them around the base. See if anyone recognizes the guy. MUSICAL BRIDGE TO: INT. CONTROL ROOM - DAY DREW: I've acquired a target, Sir! X.O.: Distance? DREW: Six thousand one hundred yards. X.O.: Bearing? DREW: Zero three five relative. X.O.: Depth? DREW: Four hundred and fifty feet. SKIPPER: Helm steer zero nine five. Fifteen degrees down bubble. COB: Aye aye, Sir. Helm, zero nine five. Fifteen degrees down bubble. CUT TO: INT. WARDROOM - DAY KATE: The fingerprints we took match those in their service records. If there's an imposter, it's not one of the five we interviewed. GIBBS: It has to be. KATE: What if he's on another boat? GIBBS: This is the one that makes sense. The kller didn't just dump the body, he removed identifying features in case it was found. If it were found he knew it'd take between twenty four and forty eight hours for AFDIL to make a DNA match. KATE: Whatever he was planning to do, it was going to be in that time frame. GIBBS: In that time frame the Philadelphia was the only boat going out. Where'd you get the records? KATE: Personnel office at Norfolk. GIBBS: What if someone altered the service record before we or Commander Peters got it? KATE: Meaning that the imposter worked in the personnel office. GIBBS: Or has an accomplice. (MUSIC OUT) MUSIC IN: INT. CONTROL ROOM - DAY DREW: Sonar signature looks like the Augusta! Six thousand one hundred yards. X.O.: Target bearing? DREW: Still zero three five relative. We're in his baffles, Skipper. SKIPPER: Range? DREW: Six thousand yards and closing, Skipper. SKIPPER: I've got you, Jimmy! GIBBS: I need to contact NCIS headquarters now! DREW: (V.O.) Range to target five thousand eight hundred and closing. SKIPPER: No can do, Agent Gibbs. I'm about to win a bottle of Stoli. WEPS, get me a fring solution. GIBBS: Your bottle of vodka is going to have to wait, Skipper. I need to talk to headquarters now! SKIPPER: We'd have to break contact and go to periscope depth. GIBBS: Whatever it takes. SKIPPER: I am not terminating this exercise so you can have a chat with the folks back home. GIBBS: Let me give this to you straight, Skipper. There's a thrat on this boat. It's a real thrat. It's not a game. SKIPPER: X.O. X.O.: Sir. SKIPPER: Make your depth one five zero feet. Sonar, see if you can hang onto it. Take us up to periscope depth. X.O.: Aye aye, Sir. Go depth one five zero feet. Slow to all ahead two thirds. Stand by to go to periscope depth. SKIPPER: I'll give you two minutes, Special Agent Gibbs. (INTERCUT SCENE OF SUBMARINE PERISCOPE) SKIPPER: They're patching through to your man. Two minutes. MUSICAL BRIDGE TO: INT. TORPEDO ROOM THOMPSON: COB, why did we stop the attck on the Augusta? COB: Cops had to make a phone call. THOMPSON: That's got something to do with them interrogating us, doesn't it? COB: Now why would you think that, Petty Officer? MUSICAL BRIDGE TO: INT. MCGEE'S OFFICE - DAY (SFX: PHONE RINGS) TONY: (INTO PHONE) DiNozzo.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Tony. (SCENE CUT) TONY: (INTO PHONE) Hi, Boss. Did you find the guy? GIBBS: (V.O./FILTERED) No. Could be any one of our five. TONY: (INTO PHONE) What's your famous gut saying? (SCENE CUT) GIBBS: (INTO PHONE) I need you to find out who had access to the Philadelphia service records. (SCENE CUT) TONY: (INTO PHONE) You think they were altered? (SCENE CUT) GIBBS: (INTO PHONE) Good guess. (SCENE CUT) TONY: (INTO PHONE) It wasn't a guess. (SCENE CUT) GIBBS: (INTO PHONE) Then why'd you ask? (SCENE CUT) TONY: (INTO PHONE) I didn't ask you. It was a... definitive statement. (END TELEPHONE INTERCUTS) MUSICAL BRIDGE TO: INT. NCIS LAB - DAY DUCKY: I have good news and bad news, Abby.(DOOR OPENS) ABBY: Ah, I hate payback! DUCKY: Which first? ABBY: Bad. DUCKY: No DNA matches on our victim. The AFDIL computers are still down. ABBY: Okay. Good. DUCKY: I know why Hugh Grant didn't match any of the photos. ABBY: Okay, you got your payback. Tell me why. DUCKY: Gibbs thinks one of the service records was altered. ABBY: So all of this was a waste of time? DUCKY: Au contraire. All we have to do is get photos of those five crew members from an independent source. ABBY: That'll take longer than a DNA match. DUCKY: I have photographs of every cricket team I ever played on from second form all the way through to the upper sixth. You see in our last year we made the division finals. Grant you I was only on the reserve. ABBY: I just know that there's a point here somewhere. DUCKY: All ships have a crew photograph. ABBY: Yes. Yes! Yes! I'll download crew photos from websites of the five suspect's previous deployments! DUCKY: You should have seen me in my whites. I was rather handsome even if I do say so myself. CUT TO: INT. PERSONNEL BUILDING CONNORS: (V.O.) When a sailor reports to Norfolk, we download their service file, (ON CAMERA) update it if necessary and make a hard copy for the sailor's command. TONY: You update their photos? CONNORS: Only on re-enlistments and significant promotions. Most updates are performance evaluations, awards, marital status... TONY: So your department can change anything in a service record? CONNORS: Yes. TONY: Fingerprints? CONNORS: We could. But why would we? TONY: Who handles Submarine Command? CONNORS: Everyone. We don't assign work based on specific commands. TONY: About how many people work here, Lieutenant? CONNORS: Four officers, twelve enlisted and forty seven civilians. TONY: That's a lot of people. CONNORS: They don't think so. We've been swamped since Iraq with all the transfers in and out of here. TONY: So you wouldn't know who handled crew replacement for a specific ship? CONNORS: No, but I could ask. They might remember. TONY: They might remember but I don't think they'd tell us. CONNORS: Why not? TONY: I promise to tell you some day. Can I have a copy of your personnel roster? CONNORS: As long as you keep your promise. Josie, I need a copy of our personnel roster. JOSIE: (V.O.) Right away, Lieutenant. MCGEE: Uh, Sir? TONY: Yeah. MCGEE: May I ask the Lieutenant a question? TONY: Micky, you don't need my permission to ask a question as long as you're not asking her on a date. MCGEE: No, Sir. Not my type. TONY: Lieutenant, Special Agent McGee has a question. (TO MCGEE) McGee? MCGEE: Uh...I was just wondering if anyone had quit in the last few days. CONNORS: As a matter of fact, Joshua Fox quit two days ago. TONY: How long did he work here? CONNORS: A little over a year. He transferred into personnel a month ago. TONY: Could you get us his address? CONNORS: Thanks. It's on the roster. TONY: Thank you. You're learning, McGee. MCGEE: Thank you, Sir. MUSICAL BRIDGE TO: INT. CONTROL ROOM X.O.: Anything? DREW: No, Sir. I can't find him. X.O.: Damn NCIS. CUT TO: INT. WARDROOM - DAY GIBBS: Drink. KATE: What's with all the water? GIBBS: Oh, you've got to hydrate on a submarine. KATE: All you've had me doing is hydrating. GIBBS: Drink it. (LONG bat) So how's your bladder? KATE: What?! GIBBS: The COB's at the end of the passageway trying to keep an eye on us. You've got to distract him. You're gonna need help working the toilet. KATE: Gibbs... GIBBS: Trust me, Kate. On a submarine, it's a very complicated mechanism. KATE: Is that why you've been shoving water down my throat for the past hour? GIBBS: I want to check out Petty Officer Thompson. KATE: Yeah, well you don't have to drown me. You could just ask. GIBBS: Hydrating's good for you. Go on, unhydrate. (DOOR CLOSES/ OPENS) KATE: I've never heard it called that before. GIBBS: Go on! MUSICAL BRIDGE TO: INT. PASSAGEWAY - DAY KATE: Commander Peters said I could use the facilities is his quarters, COB. COB: Yes, Ma'am. This way.(DOOR OPENS) MUSICAL BRIDGE TO: EXT. JOSHUA FOX'S HOUSE (CAR BRAKES TO A STOP) (MUSIC OVER ACTION/TONY AND MCGEE APPROACH THE HOUSE) (KNOCK ON DOOR) TONY: Well, either no one's home or not answering. MCGEE: What should we do? TONY: Get inside, look around. MCGEE: We'll need a Command Search Authorization. This is civilian property, Sir. We'll have to go to a local judge to get a search warrant. (TELEPHONE BEEP TONES) TONY: Or play football. MCGEE: Huh? TONY: Go deep. Go deep! Oh, look at him! He breaks free! Go man, go! He's looking for McGee! It's a play action to attck and even to balk and he can't find McGee! He's covered! He's in the open! He's broken clear! (SFX: GLASS BREAKS) TONY: He's still got it. MCGEE: That's breaking and entering. TONY: No.(SFX: GLASS BREAKS) TONY: No, that was breaking. This is entering. CUT TO: INT. TORPEDO ROOM THOMPSON: We're going to need a torque wrench. SEAMAN: I'll get it. GIBBS: You trouble me, Thompson. THOMPSON: How's that, Sir? GIBBS: I don't think you were completely honest with us. THOMPSON: Yes, I was. GIBBS: I think you lied about high school. Why would you do that? THOMPSON: The truth, Sir? GIBBS: Oh, yeah. That's always the best. THOMPSON: I missed a year of high school 'cause I was in juvenile detention. My record was expunged but I was afraid if the Navy found out, I'd never see the inside of a sub. COB: Agent Gibbs. You were asked to stay in the wardroom. (TO THOMPSON) You can go back to work, Petty Officer. THOMPSON: Aye aye, COB. MUSICAL BRIDGE TO: INT. WARDROOM (DOOR OPENS) GIBBS: (WHISPERS) Busted! (DOOR CLOSES) COB: I didn't appreciate that little stunt GIBBS: Ah, cut us a little slack. No harm no foul. COB: No, Sir. The Skipper's cooperated with you every step of the way. GIBBS: Chief of the Boat knows the crew better than the Skipper. Are you bothered by any of the men we questioned? COB: You've only been out one day, Agent Gibbs. I make it a practice not making snap judgments. KATE: It could be something little. Seemingly inconsequential. GIBBS: Do you get a strange vibration about any of them? COB: No, but if I do get any vibrations, it'll come to you through the Skipper. (COB WALKS O.S.) (DOOR OPENS/ CLOSES) KATE: Do people react that way because we're NCIS or do you just have that affect on them? GIBBS: I'd like to think it's me. CUT TO: INT. NCIS LAB - DAY ABBY: I downloaded crew photos from the ships our suspects served on and I got nada. No one looks like him in any of them. I don't know what to do now? DUCKY: Absent a miracle, we'll just have to wait for the DNA report. MUSICAL BRIDGE TO: INT. JOSHUA FOX'S HOUSE - DAY (MUSIC OVER ACTION/TONY LOOKS AROUND THE CABIN) TONY: I don't think this guy's ever cooked in his kitchen. No plates, no utensils, nothing. MCGEE: It's all store bought junk. There's not one personal item here. Not even a phone. TONY: Well, maybe he used his cell phone. What's that? MCGEE: It's a DSL line. It's running from this jack to...under the bookcase. TONY: All right, slide this toward you on three. One, two, three. (SFX: BOOKCASE SLIDES) (MUSIC OVER ACTION/TONY KICKS OPEN THE DOOR) (CAMERA PANS AROUND THE ROOM) (MUSIC OUT) FADE IN: INT. JOSHUA FOX'S HOUSE - DAY (SFX: WATER SPLASHES ON COMPUTER) TONY: I guess "flying toasters" would have been too much to ask for. MCGEE: Let's see what we have here. (SFX: RAPID KEYBOARDING) TONY: You've taken computer classes. MCGEE: Masters in computer forensics, MIT. TONY: I see. MCGEE: Well, he's definitely an eco-trror1st. He's looking for retribution for the whales. (SFX: RAPID BEEP TONES) MCGEE: Oh, this isn't good. TONY: What? MCGEE: Isopropyl methylphosphonofluoridate. (bat) B.S. in Bio-medical Engineering, Johns Hopkins. You? TONY: Ohio State, Phys Ed. I was a jock. What is that in my language? MCGEE: Sarin gas. He's planning to introduce it into a submarine's air conditioning system. Doesn't say how. TONY: It wouldn't take a lot, would it? MCGEE: Must have been a prototype. TONY: If it was filled with Sarin gas, and distributed through the air system? MCGEE: It could kll the entire crew. MUSICAL BRIDGE TO: INT. CONTROL ROOM - DAY X.O.: (V.O.) Skipper, we have an incoming Emergency Action Message on the low frequency receiver, Sir. SKIPPER: (READS) Imposter on board. No I.D. thrat of Sarin gas to air conditioning system. Take immediate action. (TO COB) Have engineering shut down the air conditioning system and tear it apart. And get those agents up here now! COB: Aye aye, Sir. SKIPPER: Surface! Surface! Surface! Emergency blow! X.O.: Surface! Surface! Surface! Emergency blow! SEAMAN: (V.O.) Emergency blow. Surface aye! MUSICAL BRIDGE TO: INT. PASSAGEWAY KATE: What's happening?! GIBBS: Emergency blow.(SFX: WARNING HORNS B.G.) COB: Skipper wants you.(DOOR OPENS) GIBBS: Hang on a moment. (INTERCUT SCENE OF SUBMARINE BURSTING FROM THE WATER) KATE: Wow. GIBBS: Yep. That's what they all tell me. MUSICAL BRIDGE TO: INT. NCIS LAB - DAY ABBY: I remembered that I was absent the day the Science Club took our picture. And that made me think what if one of the five missed his crew picture? Petty Officer Drew. He was absent the day the Topeka took their photo. DUCKY: Where'd you get this picture? ABBY: I downloaded it off the sub's online newsletter. Drew is a Sonar Operator on the Philadelphia. DUCKY: No, he's not. He's in my cold storage. Someone else is sitting at his sonar station. MUSICAL BRIDGE TO: INT. CONTROL ROOM - DAY DREW: Sir, request permission to make a head call. COB: Emergency blow loosen you up, Petty Officer Drew? All right. Martin, relieve Drew. SKIPPER: Open all hatches. Break out emergency breathing gear. X.O.: Aye aye, Sir. Open all hatches. Break out emergency breathing gear. SEAMAN: (V.O.) Aye, Sir. Ensign, one M-C all emergency... SKIPPER: Any idea who the hell he is? GIBBS: We're working on it. X.O.: Skipper, we've got another EAM coming in, Sir. SKIPPER: Where is Petty Officer Drew? COB: He had to visit the head, Sir. MUSICAL BRIDGE TO: INT. CREW BERTHING - DAY (SFX: CURTAINS OPEN) (CAMERA ANGLE CLOSE ON DREW) CUT TO: EXT. JOSHUA FOX'S HOUSE - DAY TONY: (INTO PHONE) Hey, we matched the prints you faxed. Former Petty Officer Second, Sean Travis.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Sonar operator. TONY: (V.O./FILTERED) That's right. (SCENE CUT) TONY: (INTO PHONE) Spent a couple tours on attck subs before he was dishonorably discharged. (SCENE CUT) KATE: (INTO PHONE) Was he hooked up with the protesters outside the gates? TONY: (V.O./FILTERED) FBI's checking that. But they think he and Joshua Fox... (SCENE CUT) TONY: (INTO PHONE) ...were part of some small three or four man cell of radical eco-whale freaks. (SCENE CUT) GIBBS: (INTO PHONE) Did you get Fox and the rest of them? (SCENE CUT) TONY: (INTO PHONE) Not yet. What's going on down there? (SCENE CUT) KATE: (INTO PHONE) We're on the surface. (GIBBS SETS DOWN THE HEADSET) (SCENE CUT) TONY: (INTO PHONE) I guess Gibbs hung up. (SCENE CUT) KATE: (INTO PHONE) Good guess.(END TELEPHONE INTERCUTS) MUSICAL BRIDGE TO: INT. CONTROL ROOM X.O.: Secure from emergency breathing. SKIPPER: Engineering's gone through the air conditioning system. It looks like he never got his canister into it. GIBBS: It's somewhere on this boat. SKIPPER: We'll search. But if it's as small as you say it is, it could be hidden just about anywhere. GIBBS: If the canister remains sealed, it shouldn't be a problem. SKIPPER: We'll tear the boat apart if we have to when we get to Norfolk. XO, prepare to dive. X.O.: Aye aye, Sir. KATE: We're going back down? SKIPPER: We're fifteen knots faster submerged than on the surface. GIBBS: I'd leave the air conditioning system offline as a precaution. SKIPPER: I fully intend to. It's going to get hot in here. GIBBS: Ah, we're used to taking heat. CUT TO: INT. NCIS LAB - DAY ABBY: Huh -- TONY: Hi, Abby. While the boss is away, huh?(MUSIC B.G.) ABBY: I earned my paycheck today. TONY: Oh, that's what I heard. Exhibit A. Any idea how it works? ABBY: So what's agent McGee like? TONY: Ah, like most newbies. Quiet, green, gullible. ABBY: Bi? TONY: I don't think so. ABBY: No, Tony. The canister. There's a funny metal trigger. TONY: Ah. Yeah. So it's turned on by either....either what? ABBY: Hot or cold. (SFX: WIND/BEEP TONES B.G.) ABBY: This one digs cold. When the temperature drops below 5 degrees centigrade, the trigger releases whatever's in the canister. What is in the canister? TONY: Sarin gas. ABBY: Nasty. TONY: Hmm. So what's cold enough to trigger it on a sub? ABBY: Fridge, freezer, air conditioner. Is Agent McGee cute? TONY: Can a guy be cute to you without body armor? ABBY: Sure. I'm not a snob. CUT TO: INT. WARDROOM - DAY KATE: How can you drink coffee when it's a hundred degrees? GIBBS: It helps me think. KATE: What's bugging you? GIBBS: Travis not releasing the Sarin. KATE: He never had a chance. He was quarantined or on duty until the air conditioning system was shut down. GIBBS: What was his back up plan? He would have had one. KATE: What makes you so sure? GIBBS: This whack job knew he was going to die as soon as he released the gas. Why commit su1c1de before he could do it? KATE: He knew we were onto him. I mean, like you said, he was a whacko. (KNOCK ON DOOR) GIBBS: Yeah. Enter.(DOOR OPENS) MESS SPECIALIST: Courtesy of the Skipper, Sir, Ma'am. There's rocky road, cookies and cream, chocolate, butter pecan, and the Captain's personal favorite, pumpkin. GIBBS: Pumpkin? KATE: Do you think we have enough, Steward? MESS SPECIALIST: There's about forty gallons more in the galley, Ma'am. Might as well eat it before it melts. KATE: I don't get it. GIBBS: Had to make room in the freezer for the body. KATE: Nice. MESS SPECIALIST: It's the only place to preserve it, Ma'am. SOP on a sub. (DOOR CLOSES) KATE: (bat) What? GIBBS: Anyone who's served on a sub knows that. Travis didn't commit su1c1de to give up. (DOOR OPENS) CUT TO: INT. CORRIDOR - DAY GIBBS: su1c1de was his backup plan. Where's the freezer, COB? COB: Loading door right here, Sir. Right there. (DOOR OPENS) GIBBS: The bastard booby-trapped himself. Once he knew that he couldn't get in the cooling system, he went to his backup plan before we could arrest him. KATE: The Sarin gas canister was designed to be triggered by cold. Travis knew that if he died, you'd put him in the freezer. COB: You mean he swallowed the canister? KATE: Yeah. GIBBS: If his core temperature gets to the trigger temperature, the gas will be released. KATE: It already has! GIBBS: When it leaks out, we're gonna die! COB: I'll get the Skipper to do another emergency blo-- GIBBS: There's no time for that! Kate, go fill in the Skipper. Come on! There's one way to get this guy off this boat in a hurry. Go! Move it! (GIBBS AND COB CARRY THE BODY ALONG THE PASSAGEWAY) COB: Gangway! Move! Make a hole! Make a hole! CUT TO: INT. TORPEDO ROOM COB: Move it! Move! Help, Thompson! We need a tube! THOMPSON: We've got torpedoes in two, three and four, Sir! COB: Load this in one! THOMPSON: Evans is in there doing maintenance! GIBBS: Get him out of there! THOMPSON: Get him out, guys! Come on! SKIPPER: (V.O./OVER P.A.) Torpedo room, COB. COB: (INTO RADIO) Torpedo room, COB. SKIPPER: (OVER P.A.) You have permission to fre! COB: (INTO RADIO) Aye aye, Sir. (MUSIC OVER ACTION/GIBBS LOADS THE BODY INTO THE TORPEDO TUBE) COB: Secure the inner door! THOMPSON: Aye aye! COB: Ready a water sht! THOMPSON: Aye aye! COB: Open outer door! THOMPSON: Outer door open! COB: Flood two! THOMPSON: Two flooding! COB: fre number one! (SFX: WATER RUSHES FROM THE SUBMARINE) GIBBS: COB, I don't have to tell you what the most important thing is now, do I? COB: Get the ice cream back in the freezer. GIBBS: Exactly. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY TONY: Welcome back. KATE: Hey. TONY: Nice cap. They make you the boat mascot? KATE: This is your way of telling me how much you missed me, isn't it? TONY: No. GIBBS: What are you doing here, Special Agent McGee? MCGEE: I brought my final report, Sir. GIBBS: You do not have to Sir me, McGee. TONY: Didn't they teach you how to use e-mail at MIT? KATE: You graduated from MIT? GIBBS: And Johns Hopkins. TONY: I didn't tell him. GIBBS: What are you doing here? MCGEE: I've uh... got a lunch date with Abby. (TONY LAUGHS B.G.) TONY: I've got to see this. I'll take you to her! MCGEE: Thanks. TONY: Thanks what? MCGEE: Tony? TONY: Sir. I already warned you, Abby's not your type. MCGEE: Well, I'd like to find out for myself. TONY: Yeah, listen kid uh... I don't want to hurt your feelings but you're not exactly Abby's type. MCGEE: I've taken care of that. Remember that urge we were talking about? I went with Mom. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN AND CLOSED) KATE: I wonder what he said to make Tony speechless? GIBBS: He told him he got a tat on his ass. (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x07 - Sub Rosa"}	foreverdreaming
MUSIC IN: EXT. COUNTRY ROAD - DAY BIKER CHICK: You promised I'd be back by now. BIKER: Don't get your thong in a knot. BIKER CHICK: Yeah, well if my old man finds out I've been biking with you, he'll kll us both. BIKER: If your man was a man, I might be worried. BIKER CHICK: Wayne, you've got to get me back. I'm serious. BIKER: I'll get you a ride.(CAMERA ANGLE ON CAR AS THE CAR DRIVES CLOSER) BIKER CHICK: What if he doesn't stop? BIKER: Oh he'll stop. (SHOUTS) Hey! Stop! (SFX: CAR CRASH) (BIKER SHOUTS) BIKER: You stupid bastard, when I get through with you, you're gonna wish you were....dad. (LONG bat) He's dad. (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. AUTOPSY ROOM - DAY "MINIMUM SECURITY" DUCKY: Massive internal bleeding in the abdominal cavity, Gerald. That's enough. My young friend, you must have been in acute pain...for many hours. What kept you from seeking help, I wonder? Run the gut for me, would you please, Gerald? GERALD: Not a problem. DUCKY: It was definitely a blockage. It's strange, though. It seems to consist of a cluster of objects. GERALD: Gall stones? DUCKY: Oh, my no. Gallstones that large could never pass through the cystic duct. And even if they did, they wouldn't all be expelled at the same time. Although I did find a gall bladder once with almost a kilo of large stones. Of course the victim was a sumo wrestler who weighed over two hundred kilos. He was in the middle of a bout - he just went... (DUCKY MAKES DEATH F/X) GERALD: They're stones, Doc. DUCKY: Not gall stones. (PASSAGE OF TIME) DUCKY: (V.O.) Emeralds. It was lodged in his gastrointestinal tract causing perforation of the peritoneum, internal bleeding, infection and death. GIBBS: He swallowed emeralds. DUCKY: He did indeed. GIBBS: I'm going to take a wild guess here, Doc. He smuggled them into the country. DUCKY: It's from where he smuggled them in, Jethro. Our sailor had just arrived from Guantanamo Bay, Cuba, where he was a translator. CUT TO: INT. NCIS SQUAD ROOM - DAY KATE: Petty Officer Second Class Kahlil Sa'id. Naturalized American citizen, born in Egypt. Worked as a translator at Camp Delta. Fluent in Arabic, Uyghur and Pashto. Died in his car on Route Five Twenty Two near Fredericksburg. Almost klled a pair of bikers. TONY: Vroom vroom bikers or pedal bikers? KATE: I said bikers, Tony. Not cyclists. TONY: Bikers is a term that refers to all cyclists.... GIBBS: Next of kin? KATE: None in the States. No US address either. And apparently he rotated from our Naval Station in Bahrain to Gitmo five months ago. GIBBS: Where did he get those emeralds? TONY: Gitmo Exchange. Sorry. GIBBS: Get your gear. We're going to Gitmo. TONY: Ha. Ha. That's a good one, boss. He was kidding, right? KATE: I don't think so. TONY: We're going to Cuba?!(TONY LAUGHS) MUSICAL BRIDGE TO: INT. NCIS LAB - DAY ABBY: Hey, Gibbs. I've got a gemologist coming over to look at the rocks. It's my mother's friend's sister's son. GIBBS: Does he know his stuff? ABBY: I went out with him like once. Didn't get very far. GIBBS: Is this all from the car? ABBY: Yeah. It was a rental. GIBBS: Any classified material? ABBY: Not in the suitcases. GIBBS: He would've swapped his hard drive before he left. Check it anyway. ABBY: These were in the suitcase. Stamped, no postmark. All the same return address. GIBBS: NCIS Special Agent Paula Cassidy. ABBY: You know her? GIBBS: No. But I will. ABBY: Okay, smell this. GIBBS: Does this turn you on, Abby? ABBY: It turned somebody on. Box of condoms, half empty. The price tag says they're from the Gitmo Exchange. Maybe... maybe it was a package deal. GIBBS: See if you can brand the cologne. ABBY: You want some? GIBBS: Nope, don't use cologne. Women I date think the smell of saw dust is sexy. That's why I don't date very many women. CUT TO: INT. ELEVATOR - DAY (SFX: ELEVATOR DINGS) TONY: Oh! Sorry. GIBBS: You had better have a good reason for spilling my coffee. TONY: I do. I booked us on the first A-M-C flight to Gitmo tomorrow. GIBBS: Un-book it. TONY: Ha ha! I knew it! I told her you were pulling my leg. GIBBS: Navy's giving us a priority ride today. TONY: You mean it? You do mean it.(ELEVATOR DINGS) (ELEVATOR DOORS SLIDE SHUT) TONY: Normally I hate priority rides, but who cares if it's going... GIBBS: What's wrong with priority rides? TONY: Come on, boss. You tell me you like sitting on canvas seats slung between cargo pallets? GIBBS: Yeah, it makes me feel like I'm back in the Corps. CUT TO: EXT. AIRFIELD - DAY (ACTION CONTINUES/JET TAKES OFF) CUT TO: INT. JET - FLYING TONY: Oh, I love priority rides! Boss this is the best! GIBBS: I miss canvas seats. TONY: Check this out. What do you want? GIBBS: Get to work. TONY: I already started. (READS) "Guantanamo enjoys a year round tropical climate cooled by the breezes from the Windward Passage. Some of the more popular pastimes include skin diving, sunbathing and horseback riding." KATE: I would be the last one to rain on your parade, Fidel, but you're logged onto an official Navy website. It's P.R. GIBBS: This isn't. It's the NCIS file on Special Agent Paul Cassidy. She's an interrogator at Camp Delta. Special Agent Cassidy is not to know that Sa'id is dad. KATE: We're not working with her? GIBBS: Sa'id was carrying five unmailed letters of hers. Until we find out how she was involved with him, she's out of the loop. TONY: I can't believe we're in a forty million dollar Gulfstream. I mean, it's got to be C.N.O.'s or SECNAV's. You know, Tiger Woods has one of these. Tom Cruise - all the big movie stars. This is their ride. GIBBS: Tony? TONY: Yeah, boss? GIBBS: Can we get to work? TONY: Sure thing. Just check this out. (LAUGHS) It's a Gulfstream. MUSICAL BRIDGE TO: EXT. AIRFIELD - DAY KATE: So much for the element of surprise. CASSIDY: Welcome to Gitmo. I'm Special Agent Paula Cassidy. GIBBS: Special Agent Jethro Gibbs. Special Agent Kate Todd. KATE: Hi. CASSIDY: How are you? GIBBS: Special Agent Anthony DiNozzo. TONY: Hey. CASSIDY: Hello. I heard you all were coming. Nice ride. TONY: You are so right there. CASSIDY: This is yours. There's a map in it. They put you up in one of the nicest houses on the base. GIBBS: I appreciate that Special Agent Cassidy. CASSIDY: So is there something going down that I should know about? GIBBS: No. CASSIDY: It's just that all my transcripts have been pulled, my interrogations have been cancelled, and then you all arrive on the Navy Gulfstream. How would you connect the dots?(CAR DOORS OPEN/CLOSE) GIBBS: I wouldn't. (SFX: CAR STARTS) CASSIDY: Okay. Enjoy your stay. MUSICAL BRIDGE TO: INT. AUTOPSY LAB - DAY (MUSIC OVER ACTION/ABBY CHECKS THE SPECIMENS) CUT TO: EXT. TRACT HOME - DAY (SFX: CAR TRUNK CLOSES) (GIBBS/ TONY AND KATE WALK TO THE FRONT DOOR) CUT TO: INT. TRACT HOME - DAY (DOOR OPENS) GIBBS: Okay. We'll set up here. Tomorrow morning we'll be joined by the senior FBI translator covering transcripts of Sa'id's translations. The interrogator was Special Agent Cassidy. CUT TO: INT. BEDROOM TONY: No way! KATE: It's the only bedroom with a bath. TONY: I know. And I picked it first. KATE: Women take baths. Men take showers, Tony. TONY: Why does the woman thing come up when a ship is sinking or when there's only one bedroom with a bath? CUT TO: INT. NCIS LAB - DAY GIBBS: (V.O./FILTERED) Gibbs. ABBY: (INTO PHONE) Well, you were right about Sa'id's laptop. System's virgin.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Yeah, we'll track down the hard drive he had here and ship it to you. When's your rock boy coming? (SCENE CUT) ABBY: (INTO PHONE) In the morning. (SCENE CUT) ABBY: (V.O./FILTERED) My mother's very excited. GIBBS: (INTO PHONE) Find anything else? (SCENE CUT) ABBY: (INTO PHONE) Yeah, I picked up another scent on his shorts and his t-shirts. (SCENE CUT) GIBBS: (INTO PHONE) What did Sa'id do, bathe in the stuff? ABBY: (V.O./FILTERED) No, it's not his. (SCENE CUT) ABBY: (INTO PHONE) It's uh... peach and musk with vanilla as a top note. (SCENE CUT) ABBY: (V.O./FILTERED) It's definitely feminine. GIBBS: (INTO PHONE) Well, tag it. (SCENE CUT) ABBY: (INTO PHONE) Perfume is expensive, Gibbs. I can't just hang out at... (SCENE CUT) ABBY: (V.O./FILTERED) ...the Macy's tester tray with my lab kit. (SCENE CUT) ABBY: (INTO PHONE) They frown on that sort of behavior. (SCENE CUT) GIBBS: (INTO PHONE) Buy whatever you need. We'll deal with it later. (SCENE CUT) ABBY: (INTO PHONE) Bold, Gibbs. Bold.(END TELEPHONE INTERCUTS) CUT TO: INT. LIVING ROOM KATE: We're finished. TONY: But we need to talk to you, Boss. GIBBS: Whatever. It'll have to wait 'til the morning. KATE: Well, it's kind of important. GIBBS: I appreciate that. I'm going to bed. Talk to you manana. (GIBBS WALKS INTO THE BEDROOM/TOSSES THE LUGGAGE INTO THE HALLWAY) (DOOR CLOSES) TONY: Any preference on the remaining bedrooms? KATE: No. Both equally crappy. You pick. TONY: Ladies first. Night!(DOOR CLOSES) CUT TO: INT. BEDROOM - MORNING (TONY AWAKENS) (TONY JUMPS UP AND SHOUTS) TONY: Halt! (DOOR OPENS) (GIBBS AND KATE RUSH INTO THE ROOM) (TONY GASPS) GIBBS: I need coffee. CUT TO: INT. NCIS LABORATORY - DAY (MUSIC PLAYS B.G.) BENJAMIN: Where'd you get this, Abby? ABBY: If I told you I'd have to kll you, Benjamin. This is very sweet, but you did not have to bring me a gift. BENJAMIN: Oh, I wanted to. Your mother said it was something you could use. ABBY: Oh, right on. Thanks! Benjamin, this is...this is great. (bat) So the emerald. Is it real? BENJAMIN: Oh, it's very real. Color grade two point five, tone one to two, clarity I-one. It's at least worth twenty thousand. And the color is quite distinct. It's bluish apple green. And the fluid inclusions are quite different from Colombian stones. This emerald was mined in the Panjshir Valley. ABBY: Where's that? BENJAMIN: Afghanistan. (MUSIC OUT) MUSIC IN: EXT. TRACT HOME - DAY (CAR SLOWS TO A STOP) GIBBS: William Gamal. GAMAL: It's Bill. Senior translator, Camp Delta. GIBBS: We've been expecting you. Special Agent Gibbs, Special Agent DiNozzo and Todd. TONY: When the FBI relaxes the dress code, they sure go for it. GAMAL: These are the transcripts of the interrogations of Nasir Al Jazair you requested. GIBBS: The translator was Sa'id? GAMAL: That's right. Apparently there's a problem? GIBBS: Did you know him? GAMAL: Only to say hello. He worked with the interrogator Paula Cassidy. MUSICAL BRIDGE TO: INT. TRACT HOME - DAY GAMAL: You might want to think about keeping that door shut. Iguanas have been known to wander inside. (DOOR CLOSES) GIBBS: Nasir arrived in June from Afghanistan. GAMAL: Yes. Insists he was picked up by mistake. TONY: Ha. Weren't they all? GAMAL: Agent Cassidy did especially well with the subject. Younger detainees feel more comfortable with female interrogators. Once rapport has been established, the prisoner is only interrogated by that team. I understand Agent Cassidy is not in the loop on this? GIBBS: Correct. GAMAL: I'll put you in an interrogation room for this afternoon. GIBBS: Well, we better get started. (GAMAL WALKS O.S.) (DOOR CLOSES) GIBBS: Okay, I want to know more about Agent Cassidy. Who her friends are in Gitmo. How she spends her free time. Where she hangs out. Was she involved with Sa'id. TONY AND KATE: Sure. No problem. GIBBS: Did I say both of you? KATE: Well, you didn't not say both of us, Gibbs. GIBBS: Yes, she's kind of got a point there, boss. KATE: Yeah, well I'm saying it now. DiNozzo, you go. Kate stay here and help me with this. TONY: Got it. (DOOR CLOSES) KATE: Do you mind telling me why he-- GIBBS: Yeah. (PASSAGE OF TIME) TONY: Agent Cassidy has a lot of friends, I'll say that. Mostly male friends and mostly either interrogators or translators. GIBBS: Where's she hang? TONY: A club on Base called El Foridita. GIBBS: Check it out. Observe her if she's there. TONY: Can I drink? GIBBS: Sure. Sarsaparilla. TONY: Sarsaparilla? Who drinks sarsaparilla? GIBBS: Shane. TONY: Who's Shane. KATE: Alan Ladd. TONY: Who's Alan Ladd? GIBBS: Maybe you should check her out, Kate. TONY: I'm on it! MUSICAL BRIDGE TO: EXT. CAMP DELTA YARD - DAY (TRUCK SLOWS TO A STOP) (VOICE OVER P.A. B.G.) GAMAL: Where is Agent DiNozzo? GIBBS: Drinking sarsaparilla.(CAR DOORS OPEN/CLOSE) GAMAL: They're bringing Nasir down as soon as the evening prayers are finished. KATE: Why aren't you praying? GAMAL: I'm Presbyterian. MUSICAL BRIDGE TO: INT. DETENTION FACILITY - DAY (CELL DOOR OPENS) GIBBS: How do you say good cop, bad cop in Arabic? GAMAL: I learned my Arabic at the defense Language Institute in Monterey. That phrase wasn't in the syllabus. Nasir should be here in about five minutes. GIBBS: (TO KATE) Watch his body language. (KATE WALKS TO THE OBSERVATION) (GIBBS AND GAMAL WALK INTO THE INTERROGATION ROOM) GAMAL: Fortunately Nasir speaks some English. MUSICAL BRIDGE TO: EXT. CLUB EL FLORIDITA - NIGHT (MUSIC OVER ACTION/MUSIC AND DANCING B.G.) BARTENDER: ...so Jack Palance sh*t Elisha Cook. The slug lifts his body off the ground and splat right into the mud. TONY: Elisha Cook? BARTENDER: Have you ever seen the "Maltese Falcon"? TONY: Nope. BARTENDER: You young people don't know what good movies are. All this volence, today. It's so sad. TONY: Splat isn't violent? CASSIDY: What're you drinking? TONY: Sarsaparilla. BARTENDER: Root beer. CASSIDY: So you're on duty? TONY: Maybe I just like sarsaparilla. CASSIDY: Cosmo, Jimmy. BARTENDER: Coming up. TONY: It's funny. I knew you were going to order a Cosmo. CASSIDY: Are you here to check me out? TONY: Define "checking out." CASSIDY: Come on. What are you doing here? TONY: Straight up? CASSIDY: No. I want you to lie to me. TONY: You turn me on. Here, let me pay. CASSIDY: No, thanks. I buy my own drinks.(CASSIDY WALKS O.S.) TONY: So... Jack Palance sh*t Elijah Wood. CUT TO: INT. INTERROGATION ROOM (DOOR CLOSES) NASIR: (IN ARABIC) Who are you people? GAMAL: He asks who we are. GIBBS: Name is Gibbs. U.S. Naval Criminal Investigative Service. Sit down. NASIR: Where is Paula? GIBBS: She's been replaced. By me. NASIR: Why? GIBBS: I think you know why. NASIR: No. GIBBS: Sit down, Nasir, and I'll tell you why. (NASIR SITS) GIBBS: Sa'id is dad. (NASIR PRAYS QUIETLY) GAMAL: He's praying. CUT TO: INT. NIGHTCLUB - NIGHT (MUSIC OVER ACTION/CASSIDY DANCES) TONY: Miss me? CASSIDY: Like herpes. TONY: Now that confuses me. CASSIDY: Really? TONY: Absolutely. If you don't like me, then why did you come over here for refills? CASSIDY: Jimmy? (TO TONY) I like the game. TONY: Me, too. CASSIDY: Your move. TONY: You've been here eight months and you haven't hooked up. CASSIDY: How do you know? TONY: You've danced with five different guys. Nothing going on with any of them. CASSIDY: You're counting the men that I'm dancing with? TONY: I'm the jealous type. CASSIDY: Oh. Jimmy, does he look like the jealous type? JIMMY: I thought so. TONY: See? JIMMY: He flashed his badge when I wouldn't answer any questions about you. TONY: More info than she needed, Jimmy. CASSIDY: Oh, I'm disappointed. TONY: What if I told you I was checking out the competition? CASSIDY: I'd say you were lying. TONY: No, it's true. I am checking out the competition. CASSIDY: For your investigation. TONY: And for me. CASSIDY: So what are you going to write in your report? TONY: That you have rules about hooking up with men you work with. Accurate? CASSIDY: Incomplete. I have rules about guys that investigate me, too. TONY: Never broken a rule? CASSIDY: Have you? TONY: If the risk is worth it. Jimmy, un tequila y una cerveza, por favor. JIMMY: Si, senor. TONY: Let's dance. CUT TO: INT. INTERROGATION ROOM - DAY NASIR: Sa'id was a good man. He gave me hope I would see my family again. He said America does not hate Islam. (V.O.) That Allah knows we are here. GIBBS: Don't you want to know how he died? Or have you guessed? CUT TO: INT. OBSERVATION ROOM KATE: He guessed. CUT TO: INT. INTERROGATION ROOM NASIR: How would I know? We have no contact here with the outside world. GIBBS: He swallowed these. They klled him. I think he got them from you. NASIR: I don't understand. (GAMAL TRANSLATES INTO ARABIC) (NASIR RESPONDS IN ARABIC) GAMAL: He says he's never seen them before. (NASIR SPEAKS IN ARABIC) GAMAL: He would like to return to his cell so he can pray for his friend's soul. GIBBS: Tell him he's not going back to his cell. He's being transferred to isolation. (NASIR JUMPS UP SHOUTING) GAMAL: He says he was promised a transfer to minimum security. GIBBS: Who promised him that? GAMAL: Special Agent Cassidy. CUT TO: INT. CLUB (MUSIC OVER TONY AND CASSIDY DANCING) (PHONE RINGS) TONY: One sec. (INTO PHONE) DiNozzo. Be there in five. (TO CASSIDY) I'm back on duty. CASSIDY: Well that's too bad. TONY: So are you. (MUSIC OUT) FADE IN: INT. LIVING ROOM GIBBS: Why did you recommend transferring Nasir to minimum security? CASSIDY: Reward for cooperation. That's the idea around here. GIBBS: We've read the transcripts. He didn't tell us anything we didn't know. CASSIDY: Well, that's not the point. He told us all that he knows. GIBBS: Are you sure? CASSIDY: It's a judgment call. But we get a lot of flak around here for holding people too long. Are you going to tell me what's going on? GIBBS: Are you going to tell us what was going on between you and Sa'id? CASSIDY: We worked together. That's all. GIBBS: These were found in Sa'id's luggage. CASSIDY: Well he was going to put them in the mail for me. GIBBS: You couldn't find the post office? CASSIDY: Mail is slow out of Gitmo. Sa'id was on his way to the States and I asked him to throw them in the mail for me. GIBBS: Do you mind if we open them? CASSIDY: Yes, I mind. They're private. GIBBS: We'll get a court order. CASSIDY: What the hell is this about? Why do you have these letters? Something happened to Sa'id? GIBBS: He's dad. CASSIDY: Oh, my god. How? What happened? (bat) Tell me how he died! GIBBS: Internal bleeding from a perforated bowel caused by the presence of hard objects in his intestines. CASSIDY: Hard objects? What the hell is that supposed to mean? Look, I have been a damn good NCIS Agent for over six years now. I really don't deserve to be treated like this. GIBBS: All we asked is can we open these letters. CASSIDY: Sure. Go head. Open the damn things. GIBBS: Thank you. CASSIDY: They're to my family. Would you like to search my apartment while you're at it? GIBBS: I would. CASSIDY: Okay.(TONY WALKS PAST CASSIDY) TONY: Sorry, Paula. GIBBS: Check out Sa'id's apartment, too. MUSICAL BRIDGE TO: EXT. APARTMENT BUILDING - NIGHT KATE: First time I've seen you apologize to a suspect. TONY: How'd you feel if I was going to search your apartment? KATE: Violated beyond belief. You know why you're attracted to her, don't you? TONY: Who said I was? KATE: It's endorphins. TONY: Thank you, Abby. KATE: Oh, you were so excited about going to Cuba and riding in the jet. It stimulated the hell out of your endorphins. The first woman you saw was like honey to a bear. TONY: You were the first woman I saw on my endorphin high. KATE: Yeah, well we work together, Tony. It's like a brother sister thing. TONY: I never had a sister. KATE: That's probably a good thing. TONY: You just passed Sa'id's room, sis. (KATE ATTEMPTS TO UNLOCK THE DOOR) TONY: Need some help? KATE: No. (KATE UNLOCKS THE DOOR) KATE: Tony, wait. (KATE UNLOCKS THE DOOR) KATE: Sa'id had a key to her apartment. TONY: Well she doesn't have a key to his. KATE: Women like making love in their own bed. TONY: (LAUGHS) Now, wait a minute. Just because you're woman and you enjoy doing it.... KATE: You're right. I misspoke. TONY: ...does not mean that all women insist on doing it in their own bed. KATE: (OVERLAP) I'm wrong, Tony. Let it go! MUSICAL BRIDGE TO: INT. INTERROGATION ROOM CASSIDY: Are you going to read me my rights? GIBBS: You have the right to be reimbursed for postage. Put it on your expense report. CASSIDY: Thanks. GIBBS: You might want to take that chip off your shoulder. CASSIDY: Gladly. Just treat me as a member of the team. GIBBS: We're in the same agency, not on the same team. CASSIDY: Is this interrogation over? GIBBS: Yeah. Yeah, almost. Uh... why is Special Agent DiNozzo sorry? CASSIDY: He blew his chance to get laid. CUT TO: INT. NCIS LAB DUCKY: This just came to you from Guantanamo Bay. ABBY: It's Sa'id's hard drive. Excellent. DUCKY: Ah... quite a collection. ABBY: Yeah, I'm trying to match a scent I found on Sa'id's clothes. DUCKY: I don't see Channel Number Five. ABBY: Does anyone wear that anymore? DUCKY: My mother does. ABBY: Really? DUCKY: Ever since Marilyn Monroe confessed that Channel Number Five was all she wore to bed. ABBY: So... does your mother...? DUCKY: Unfortunately yes. Makes for terribly awkward slumber parties. GAMAL: (V.O.) Nasir is extremely upset. CUT TO: INT. INTERROGATION ROOM GAMAL: He feels he's been cooperative and now he's in a cell with no windows. GIBBS: Well maybe after losing all this luxury will make him more cooperative. GAMAL: Well, a psychiatrist examined him and is worried for his mental health. GIBBS: I'm not all that interested in the mental health of people who want to kll me. GAMAL: You're certain Nasir is a trror1st? Isn't it possible he is what he says he is, a man who was in the wrong place at the wrong time? GIBBS: Yes. It's also possible that he's the man who gave Sa'id those emeralds. GAMAL: Why would he do that? GIBBS: Are you that naive or did Nasir pass some of those emeralds on to you? (GAMAL WALKS O.S.) (SFX: TOILET FLUSHES) CUT TO: INT. NCIS LAB - DAY GIBBS: (V.O./FILTERED) What are all these bottles, Abby?(BEGIN TELEPHONE INTERCUTS) ABBY: (INTO PHONE) That's the perfume you said I could buy. (SCENE CUT) GIBBS: Did you have to buy so many? ABBY: (V.O./FILTERED) I only have thirty. (ON MONITOR) There's more than twenty five hundred on the market. GIBBS: You're kidding me. (SCENE CUT) ABBY: Perfume is the most powerful accessory a woman can wear. (SCENE CUT) GIBBS: Yeah, well how much has all this power cost us? ABBY: (FILTERED/ON MONITOR) Around fifteen hundred. GIBBS: Fifteen hundred dollars?! ABBY: (V.O./FILTERED) Well, not including the tax. I stuck to the thirty most... (SCENE CUT) ABBY: ...popular scents hoping we'd get lucky. (SCENE CUT) GIBBS: Ah. How fiscally responsible, Ab. ABBY: (V.O./FILTERED) Thank you. GIBBS: So... did we get any bang for our fifteen hundred bucks? ABBY: (V.O./FILTERED) We did. (SCENE CUT) ABBY: The perfume on Sa'id's clothes is called Escada. (SCENE CUT) GIBBS: Never heard of it. ABBY: (V.O./FILTERED) Do you want to hear about his hard drive? GIBBS: What's it going to cost me? ABBY: (ON MONITOR/FILTERED) It's pretty much synonymous with his sex drive. (V.O./FILTERED) Our boy deleted twenty gigs of prn before he turned his drive in. (SCENE CUT) ABBY: He was trading with a prn pal on a Hot Mail account... (SCENE CUT) ABBY: (FILTERED/ON MONITOR) ...that doesn't exist anymore. GIBBS: Anything good on it? (SCENE CUT) ABBY: Nothing with sawdust, yet. (END TELEPHONE INTERCUTS) CUT TO: INT. LIVING ROOM - DAY GIBBS: Agent Cassidy's? TONY: Yeah. Uh... and nothing else of interest in her apartment, except... GIBBS: What? TONY: She had a bottle of Escada on her dresser. And Sa'id had a key to her apartment, but she did not have a key to his. GIBBS: Most women prefer their own beds. So she and Sa'id were doing a horizontal salsa. TONY: Not according to the bartender at El Floridito. GIBBS: What? Lovers register with him at Gitmo first? TONY: Bartenders know this kind of stuff, boss. He said she went there most nights, danced with a lot of guys, but always went home alone. GIBBS: What'd you find out, Kate? KATE: Sa'id's place wasn't just clean. It was sterilized. There was some towels, soap and a half a roll of toilet paper. TONY: I think Sa'id copied Paula's key without her knowing it. GIBBS: Now which brain is thinking that, DiNozzo? TONY: I'm hitting the rack. (DOOR CLOSES O.S.) GIBBS: Get this off to Abby first thing in the morning. KATE: You know, Gibbs, sometimes you can be a real... GIBBS: Bastard? KATE: Yes. GIBBS: Yeah, well my gut is telling me Agent Cassidy is telling the truth. KATE: So then what's the problem? GIBBS: Romance between agents, Kate... it never works. KATE: Are you speaking from experience? CASSIDY: (V.O.) Sa'id and I were not lovers. CUT TO: EXT. CLUB PATIO - DAY CASSIDY: Who told you that? GIBBS: A room key. Had yours on his key chain. CASSIDY: That's not possible. How would he get my room key? GIBBS: You gave it to him. CASSIDY: No I didn't! I lost a key. Had to replace one. Sa'id could have stolen it. GIBBS: Are you just remembering now that you lost a key? CASSIDY: I was just told that somebody else had it. GIBBS: Okay. Okay, let's say that I buy that. Why would he want a key to your room? CASSIDY: To get to my computer. But how does he get my password? GIBBS: If you don't keep your doors shut, the iquanas get in. CASSIDY: We did so many interrogations together, he could have watched me type it in. GIBBS: Why would Sa'id want to get into your computer? CASSIDY: To read my interrogation reports. I don't know. Lately I noticed that his conversations with Nasir seemed longer than his translations. I even noted that in my computer. Sa'id took leave and left the next day for the States... right after I wrote that. GIBBS: His room was empty. He wasn't intending to come back. CASSIDY: I should have had Ben come in and sit in on one of the interrogations and check my suspicions. I blew it. GIBBS: These are the hard objects that Sa'id had in his stomach when he died. CASSIDY: Emeralds? GIBBS: Yeah. I think he got them from Nasir. CASSIDY: How did Nasir get them past our body search? (bat) Nasir complained of constipation when he arrived and they gave him a laxative. GIBBS: He got them in the same way Sa'id got them out.` DUCKY: (V.O.) What are you looking at, Abby? CUT TO: INT. NCIS LAB ABBY: It's just sex, Ducky.(MUSIC B.G.) DUCKY: Just sex? ABBY: Yeah. You know, the biological act between creatures within a species in response to neurological and physiological stimuli. DUCKY: Between creatures within a species? ABBY: Usually. DUCKY: This isn't yours, I hope. ABBY: No! It's off Sa'id's hard drive. Something's wrong. The files are too big. DUCKY: (GIGGLES) Not just the files. ABBY: Easter eggs. CUT TO: INT. LIVING ROOM GIBBS: What the hell are Easter eggs?(BEGIN TELEPHONE INTERCUTS) ABBY: (ON MONITOR/FILTERED) Easter eggs are hidden messages within a computer program. If you don't know where to look, you don't know they're there. GIBBS: They were hidden in the prn? ABBY: (ON MONITOR/FILTERED) My cursor has moved across places that would make Tony blush. GIBBS: (V.O.) What kind of messages? ABBY: (V.O./FILTERED) There's a... (SCENE CUT) ABBY: ...diagram of the camp and a bunch of stuff in Arabic. It's coming to you now. Something tells me it's not a greeting from the bunny. (END TELEPHONE INTERCUTS) (PASSAGE OF TIME) GAMAL: Sa'id arrived Gitmo April twenty third. April twenty eighth he writes "son-in-law located." May eleventh "son-in-law moved to minimum security." May twenty third he gets a response. "Leader disavows son in law. He will be eliminated by the one who is victorious." TONY: Leader? GIBBS: Bin Laden. KATE: My god. We've got one of Bin Laden's son in laws here and didn't know it. GIBBS: The one who is victorious? Why does he start talking in riddles all of a sudden? GAMAL: I don't think he is. I may not be translating that accurately. (SFX: COMPUTER BEEP TONES B.G.) GAMAL: Nasir is old Arabic for "the one who is victorious." I owe you an apology, Gibbs. If I'd transferred Nasir into minimum security... GIBBS: You didn't. Don't worry about it. TONY: How do we find this son-in-law? GIBBS: Easy. We transfer Nasir to minimum security so he can kll him. (MUSIC OUT) FADE IN: INT. LIVING ROOM - DAY MC CLARFFERTY: At Camp Delta the security buck stops with me. If Nasir kills a detainee, it'll be my ass. GIBBS: Yeah. But once the son-in-law learns that Bin Laden ordered him mrder, he's going to sing like a bird in Islamic paradise and maybe that prevents another Nine Eleven. MC CLARFFERTY: What's your plan, Gibbs? GIBBS: We transfer Nasir to minimum security. GAMAL: From isolation to minimum security? He's bound to be suspicious. TONY: A new interrogator will have to deliver the news convincingly. KATE: Since we know he trusts women, that's me. (DOOR CLOSES) CASSIDY: No, that's me. I'm the one he trusts. GIBBS: You promised him minimum security. He got isolation. He won't believe you have the authority to move him. CASSIDY: He will when I order the guards to remove the shackles. TONY: That's too risky. KATE: Tony's right. CASSIDY: Nasir and Sa'id did this right in front of me. KATE: You're an interrogator, not a translator. You couldn't have known. CASSIDY: But I did. I had suspicions about Sa'id and I let them slide. It's inexcusable. GIBBS: Yep. CASSIDY: Let me make up for it. GIBBS: How good an actress are you, Agent Cassidy? CASSIDY: Ask Tony. He bought my act. TONY: Icing me was an act? CASSIDY: No. Letting you think I was melting was. MUSICAL BRIDGE TO: EXT. COMPOUND - DAY (MUSIC OVER ACTION/CART DRIVES THROUGH THE COMPOUND) CUT TO: INT. OBSERVATION ROOM KATE: Tony, she'd say anything to get in that room. TONY: Kate, it's not a problem. We were both playing a game. GIBBS: Yeah? Who won? CUT TO: INT. INTERROGATION ROOM (DOOR OPENS) CASSIDY: Hello, Nasir. NASIR: I did not expect we'd meet again. CASSIDY: Neither did I. (TO THE GUARD) Remove the shackles. (bat) Now please. NASIR: Where is Gibbs? CUT TO: INT. OBSERVATION ROOM CASSIDY: Recalled to Washington. His superiors determined that his concerns were unfounded. GAMAL: (IN ARABIC) Agent Gibbs was recalled to Washington. It was determined by his superiors that his concerns were unfounded. KATE: He's not buying it. TONY: He will. CASSIDY: Agent Gibbs has had... CUT TO: INT. INTERROGATION ROOM CASSIDY: ...problems in the past. GAMAL: Agent Cassidy, this is inappropriate. CASSIDY: He deserves to know. He has a history of building cases at the expense of the facts. (TO GAMAL) Tell him. GAMAL: (IN ARABIC) Gibbs has a history of building cases at the expense of the facts. GIBBS: (OVERLAP) She's good. NASIR: I was locked up like a dog. CASSIDY: It was out of my hands, Nasir. I'm sorry. I've arranged to have you returned to your cell. Just answer one question. Do you have a conscience? GAMAL: (IN ARABIC) Do you have a conscience? NASIR: I have a moral awareness of my actions. CASSIDY: Good. Because I've trusted you, Nasir. NASIR: I am glad you are back. CASSIDY: So am I. CUT TO: INT. OBSERVATION ROOM KATE: She's ending the session. What is she doing? TONY: Playing him. CUT TO: INT. INTERROGATION ROOM (DOOR OPENS) NASIR: (IN ARABIC) What about my transfer to minimum security you promised? GAMAL: He's asking about the transfer to minimum security you promised him. CASSIDY: I'll try. CUT TO: EXT. CAMP - DAY MC CLARFFERTY: (V.O.) We have a hundred and twenty detainees in minimum... CUT TO: INT. COMMAND VEHICLE - DAY MC CLARFFERTY: ...security at present. Twenty to a unit. Barracks twenty is the one Nasir is assigned to. And this... that's the inside surveillance cam. GIBBS: How many guards inside the barracks? MC CLARFFERTY: Two. One at each exit. Front and rear. TONY: Odds are six to one against his target being billeted in the same barracks as him. GIBBS: That means Nasir is going to have to kll his target in the exercise yard. What does Secret Service think? KATE: Three sht. There, there and one in the watch tower. I have an idea. GIBBS: It's about time. KATE: Nasir has to change his jumpsuit when he transfers, right? GIBBS: Spankin' brand new white one. So? KATE: So I want to add a little trim. MUSICAL BRIDGE TO: INT. NASIR'S CELL - DAY CASSIDY: You're being transferred to minimum security, Nasir. NASIR: You have kept your word. CASSIDY: Does that surprise you? NASIR: No. CASSIDY: Don't betray my trust, Nasir. NASIR: I will not. MUSICAL BRIDGE TO: INT. COMMAND VEHICLE - DAY MC CLARFFERTY: There. Right there. They're bringing him out now. TONY: Talk about your own personal webcam. MC CLARFFERTY: We only did enough of a search to keep it legitimate. TONY: You think he already has a wapon? GIBBS: Oh yeah, I do. Probably a shiv. MC CLARFFERTY: That makes sense. Easy to conceal. KATE: How does he make a shiv in max security? MC CLARFFERTY: A comb, a toothbrush, something innocuous ground to a point. MUSICAL BRIDGE TO: INT. BARRACKS - DAY (MUSIC OVER ACTION/NASIR WALKS TO HIS BUNK) (GUARD SPEAKS IN ARABIC) MUSICAL BRIDGE TO: INT. MOBILE COMMAND VEHICLE - DAY TONY: You're good. Bet you could have made it in Hollywood. CASSIDY: I don't think you'll be right or wrong about Nasir. GIBBS: He's a kller. It's in his eyes. TONY: Yeah. The eyes always give you away. GIBBS: Oh, yeah. (ALL WATCH ACTION ON THE MONITOR) GIBBS: Oh yeah. CUT TO: INT. BARRACKS - DAY M.P.: (IN ARABIC) Let's move out! (NASIR WHISPERS TO THE DETAINEE) M.P.: (IN ARABIC) No talking! CUT TO: INT. MOBILE COMMAND MC CLARFFERTY: Your target is the fifth detainee to exit. Acknowledge when you have him in your sights. (ALL WATCH THE MONITOR) CUT TO: EXT. TOWER - DAY GUARD: (V.O.) Roger that. Okay, I've got him. MUSICAL BRIDGE TO: EXT. YARD NASIR: (IN ARABIC) Give me the ball! (MUSIC OVER ACTION/ NASIR KICKS THE SOCCER BALL) M.P.: (IN ARABIC) Keep in line! Keep in line! MUSICAL BRIDGE TO: INT. MOBILE COMMAND VEHICLE GIBBS: That's a diversion! CUT TO: EXT. TOWER - DAY GUARD: (V.O.) I lost my target. No sht! CUT TO: INT. MOBILE COMMAND VEHICLE MC CLARFFERTY: My snper's lost his target! KATE: He's heading in the opposite direction, Gibbs! He switched groups! (INTERCUT SCENE OF NASIR WALKING INTO BARRACKS) GIBBS: He's going into the barracks twenty one! (INTERCUT SCENE OF NASIR WALKING INTO BARRACKS) GIBBS: He's made his man. Where are your guards, Colonel?! MUSICAL BRIDGE TO: EXT. EXERCISE YARD - DAY (SFX: DETAINEES FIGHT LOUDLY B.G.) (GIBBS/KATE AND TONY RUSH FROM THE VEHICLE) GIBBS: (SHOUTS) NCIS! Open up! MUSICAL BRIDGE TO: INT. BUILDING TWENTY ONE NASIR: (IN ARABIC) Close the door. (MUSIC OVER ACTION/NASIR MOVES TOWARD THE DETAINEE) MUSICAL BRIDGE TO: EXT. EXERCISE YARD GIBBS: DiNozzo, go around back! TONY: Got it! MUSICAL BRIDGE TO: INT. BARRACKS - DAY (MUSIC OVER ACTION/NASIR MOVES TOWARD THE DETAINEE/ GIBBS/ KATE AND TONY RUSH INTO THE BARRACK) (SFX: gn) GIBBS: (SHOUTS) Down! Get down! TONY: I'd have k*lled him. CASSIDY: And make him a martyr? No. This is worse than death. (NASIR SHOUTS IN ARABIC B.G.) CUT TO: INT. GULFSTREAM - DAY KATE: She looks awfully lonely back there. GIBBS: So? KATE: So... I think one of us should go and keep her company. GIBBS: Why? KATE: She is one of us. GIBBS: Kate. KATE: What? Well, I can't let her ride alone... (TONY STANDS AND WALKS TO CASSIDY) (KATE CHUCKLES) GIBBS: Why is it that women always want to fix what doesn't need fixing? KATE: It makes us feel all warm inside. GIBBS: So does scotch but it doesn't cost you a house.(KATE CHUCKLES) (CAMERA ANGLE ON THE REAR COMPARTMENT) TONY: I didn't... CASSIDY: (OVERLAP) Do you think that... You go.(CASSIDY LAUGHS) TONY: Watch this. MUSICAL BRIDGE TO: EXT. GULFSTREAM - FLYING TONY: (V.O.) It's a Gulfstream. (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x08 - Minimum Security"}	foreverdreaming
MUSIC IN: INT. KIDWELL HOUSE - DAY (DOOR CLOSES) LAURA: (V.O.) They wouldn't even tell Sarah how he died. O'DONNELL: (V.O.) I'm sure his command had a good reason. LAURA: (V.O.) Maybe, but if it was my husband... I'd want to know. O'DONNELL: (V.O.) I still can't believe Jim's dad. It's almost like he's standing here with us. LAURA: How's Sarah handling it? (CAMERA PANS TO SARAH ON THE COUCH) (SFX: PHONE RINGS) SARAH: (INTO PHONE) Kidwell residence. KIDWELL: (V.O./FILTERED) This is Jim. SARAH: Who? Who is this? What are...? KIDWELL: (V.O./FILTERED) Sarah, this is Jim....don't believe...don't believe them. (SARA DROPS THE PHONE TO THE FLOOR) O'DONNELL: Sarah! VOICE: (V.O./FILTERED) Sarah! Sarah! It's Jim! I'm not....I'm not dad! (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: EXT. NCIS fring RANGE "MARINE DOWN" RANGE OFFICER: (OVER P.A.) sht at the ready position. TONY: Nervous, Kate? KATE: Shaking. (SFX: HORN) (SFX: gn) RANGE OFFICER: (OVER P.A.) Cease fre! Cease fre! Clear and lock all wapon! All locked. Now sht check your targets. KATE: (V.O.) Are you nervous, Tony? TONY: Nice tactical reload. You only got your guy twice. I win. KATE: What are you talking about? You sht the hostage's ear off. TONY: She'll live. KATE: Yeah, without an ear. GIBBS: Not bad. Both of you, not bad. Of course these targets don't sht back. KATE: That must be next week. GIBBS: Kate I think you're holding back. sht with confidence. Relax your shoulders. Tony, that's a nice grouping. TONY: So I win. GIBBS: Oh, we're just getting warmed up. Give me your cover. TONY: What for? Right. (TONY GIVES HIS HAT TO GIBBS) TONY: Oh, come on, boss! I've been breaking that cap in for three months. I love that cap! KATE: Then don't sht it. GIBBS: Did you back this up? KATE: Oh, no no, Gibbs. Come on. My whole life is in that thing! Gibbs some on. GIBBS: Then don't sht it. KATE: If we screw this up I have a suggestion. TONY: What? KATE: We break into Gibbs' basement and we set his boat on fre. TONY: That's cold, Kate. I knew there was a reason I liked you. (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Gibbs. Yeah, we're on it. TONY: What's up? GIBBS: A Marine wife buried her husband yesterday. Somebody thought it would be fun to call her up on the phone and harass her. KATE: Since when do we investigate crank calls? GIBBS: Since the guy calling is claiming to be her dad husband. RANGE OFFICER: (V.O./FILTERED) On the fring line. Ready on the right. Ready on the left. Ready on the... GIBBS: (OVERLAP) fre. Steady under pressure. TONY: I'll bring the lighter fluid. KATE: Deal. (SFX: HORN) (SFX: gn) CUT TO: INT. SQUAD ROOM - DAY ABBY: (V.O.) Very cool. Where can I get one of these? TONY: You can have that one. ABBY: Really? Thanks. So you said you needed help? TONY: Yeah, I'm trying to pull up the records on a dad Marine but my security access won't go through. ABBY: That's because computers can sense fear, Tony. Name? TONY: Major Jim Kidwell. He was working at Quantico, Mobile Training Teams. This is his social. Is that a new perfume, Abby? ABBY: Yep. I made it myself. Do you like it? TONY: It smells like gn. ABBY: Sweet, huh? TONY: Hmm. ABBY: Here's your problem. TONY: What? ABBY: Your security clearance isn't high enough. How did he die? TONY: That's kind of what Gibbs wants me to find out. ABBY: It sucks to be you. (SFX: TONY POUNDS ON THE KEYBOARD) CUT TO: INT. KIDWELL LIVING ROOM GIBBS: In most of these cases, the caller turns out to be someone you know - old boyfriend, co-worker. SARAH: Listen, I know it sounds crazy. But the voice? I could swear it was Jim's. KATE: Sometime in situations like that, you hear what you think sounds like someone you know.. GIBBS: (OVERLAP) I'd like to put a trace on your phone, Mrs. Kidwell, in case he calls back. SARAH: What happens if it's Jim? (SFX: DOOR BELL) (SARAH WALKS TO THE DOOR) SARAH: Excuse me. KATE: It couldn't have been her husband, could it? (DOOR OPENS) SARAH: Hi, guys. LISA: Hi. TRACY: Hi. SARAH: Why don't you guys go outside and play? LISA: It's okay. I'll be along in a minute. TRACY: (V.O.) Okay, Mommy. (CHILDREN WALK O.S.) SARAH: Agent Gibbs, Agent Todd, this is Lisa Peary. Her husband was in the same unit as Jim's. They um... LISA: Died together. KATE: You have our sympathies. LISA: What we'd really like is some answers. You know, we accepted the fact that our husbands couldn't always tell us where they were, what they were doing. We played the game. We were good Marine wives. SARAH: You have to understand, all we got back were two sealed caskets. LISA: And now Sarah gets this call from Jim. KATE: Or someone impersonating him, Mrs. Peary. LISA: We don't even know how they died. Are you telling me you wouldn't start to wonder? MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY GIBBS: What did you find out about our dad Marine? TONY: He was involved in classified stuff. GIBBS: And? TONY: No and. I didn't have high enough clearance to access the records. KATE: What's your clearance? TONY: Confidential. KATE: Confidential? What did you do, kll someone in high school? TONY: Ha! Not funny, Kate. No, they screwed up my paperwork with another agent's. GIBBS: DiNozzo died in a car crash last month. Very tragic. TONY: They yanked my clearance. Now I've got to take a physical to get it back. KATE: Why is that? TONY: To prove that I'm still alive. GIBBS: Any luck? KATE: Access denied! And I was cleared for Air Force One. GIBBS: So was an Al Qaeda operative. TONY: Gibbs will get in. He's got clearance that will let him see the dad aliens at Area Fifty One. KATE: Because he probably klled them. (SFX: KEYBOARDING/ COMPUTER BEEP TONES) GIBBS: Hm. Looks like someone is deliberately blocking us. KATE: Or a glitch. Everything doesn't have to be a conspiracy against NCIS, guys. GIBBS: Are you saying we're paranoid, Kate? KATE: If the shoe fits. (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. Uh-huh. I know where it is. Mm-hmm. (GIBBS HANGS UP THE PHONE) GIBBS: That was Kidwell and Peary's commanding officer. We are being blocked. KATE: Okay, I admit. That is strange. GIBBS: He wants to meet with us. TONY: When? GIBBS: Right now. Come on. Let's roll. TONY: Thanks for the new cap, Kate. KATE: Not a problem. I only wish my warranty covered bllts. MUSICAL BRIDGE TO: EXT. PARKING LOT - DAY WALSH: (V.O.) I appreciate you meeting me out here. I wanted to keep this conversation off the record. GIBBS: Why is that, Colonel Walsh? WALSH: Because Kidwell and Peary were good men. KATE: Their widow's seem to think so. WALSH: I want to keep it that way. Are you familiar with mobile training teams? TONY: Sure, they serve as military advisors for foreign countries. WALSH: Among other things. Kidwell and Peary were working out of country. Op was classified, but had nothing to do with their deaths. GIBBS: Why seal the records then? WALSH: Because of the way they died. Look, when you work with a foreign military, you kind of have to go native. You have to live and breathe the culture. Kidwell and Peary tended to take that approach to the extreme. GIBBS: Define extreme. WALSH: We found them in a brothel. They had a dispute with one of the local prosttute. She poisoned them. GIBBS: With what? WALSH: Local police said formaldehyde. TONY: Formaldehyde? WALSH: She put it in their drinks. KATE: So you used the classified nature of the operation to cover it up. WALSH: I didn't exactly want to call Lisa and Sarah and tell them that their husbands died because they pissed of a whore. TONY: Probably a good call. WALSH: Look, they weren't angels but they were damn good Marines. I'd rather they be remembered that way. GIBBS: Any idea why someone would call Mrs. Kidwell and impersonate him? WALSH: None, but I hope you catch that son of a bitch. Look, if you'll excuse me, I have to get back to work. GIBBS: Just one more thing, Colonel. I'm still going to need to see their records. WALSH: I just told you what happened. GIBBS: Yeah. Yeah, you did. WALSH: I'll see what I can do. (WALSH WALKS O.S.) KATE: His body language matches that of someone telling the truth. (PHONE RINGS) GIBBS: Or he's one hell of a liar. (INTO PHONE) Yeah, Gibbs. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) The techs that installed the phone trace at the Kidwell's found something interesting. (SCENE CUT) GIBBS: (INTO PHONE) What did you find? ABBY: (V.O./FILTERED) There was already a trace on the line. (SCENE CUT) ABBY: (INTO PHONE) And it's pretty sophisticated stuff. (SCENE CUT) GIBBS: (INTO PHONE) Were you able to track it? (SCENE CUT) ABBY: (INTO PHONE) Almost, the tracking software lost it around Dumfries, Virginia. That's right outside of... (SCENE CUT) GIBBS: (INTO PHONE) The Marine base at Quantico.(END TELEPHONE INTERCUTS) KATE: Where's he going?(GIBBS WALKS TOWARD THE BUILDING) CUT TO: INT. TRAINING TEAM OFFICE TRAVIS: Can I help you, Sir? GIBBS: NCIS. We need to talk to your C.O., Lieutenant Colonel Walsh. TRAVIS: He's in a meeting right now, Sir. GIBBS: Here? TRAVIS: (V.O.) Sir, I don't think you heard me. TONY: Oh, he heard you. TRAVIS: (V.O.) Sir! (ALL WALK DOWN THE CORRIDOR) CUT TO: INT. OFFICE - DAY (DOOR OPENS) GIBBS: Where's Colonel Walsh? WALSH TWO: Right here. (MUSIC OUT) MUSIC IN: INT. WALSH'S OFFICE - DAY GIBBS: Someone is going to a lot of trouble over a crank phone call, Colonel. KATE: Like an illegal wire tap on Sarah Kidwell's phone. TONY: And a guy pretending he's you. GIBBS: I want to know why. WALSH TWO: That makes two of us, Agent Gibbs. You think I like getting Marines back in boxes? GIBBS: Why don't we start with how Major Kidwell and Peary died? WALSH TWO: That's a "need to know". GIBBS: Trust me, I need to know. WALSH TWO: Unfortunately it seems I don't. Their records are sealed and every inquiry I've made has been sht down. GIBBS: You have two dad Marines, Colonel. Are you trying to tell me you don't know how they died? WALSH TWO: This is an Admin Command. When my teams deploy, they can be working for any one of a dozen agencies. They don't report to me. GIBBS: Who did Kidwell and Peary report to? WALSH TWO: Officially the State Department. GIBBS: Unofficially. WALSH TWO: You'll have to figure that one out for yourselves, Agent Gibbs. GIBBS: Now what does that sound like to you, Tony? TONY: It sounds like one of the A's. CIA, NSA. GIBBS: About those boxes you got back, Colonel? WALSH TWO: What about them? GIBBS: Did you stop to see if your men were inside them? Or is that need to know, too? MUSICAL BRIDGE TO: INT. STAIRS - DAY GIBBS: We're being played, Sir. MORROW: So it seems. The question is why? GIBBS: Either they died doing something they weren't supposed to be doing or Kidwell made that phone call. MORROW: There is a third alternative. They died on a classified mission serving their country. GIBBS: I don't buy it, Sir. Someone wants us off this case. There's got to be a reason. MORROW: This isn't the first time we've bumped up against other agencies out in the field. There's always a reason. GIBBS: This time there is a couple of Marine wives caught in the middle, Sir. MORROW: What do you suggest? GIBBS: I need your help to gain access to their records. MORROW: I'll make some calls. In the meantime, see what you can find out about this phony colonel of yours. (MORROW WALKS O.S.) CUT TO: INT. NCIS SQUAD ROOM - DAY TONY: (V.O.) Make the eyes bigger, Abby. KATE: No! The eyes are fine. It's the nose that needs to be bigger, Abby. TONY: Okay, I'll get an APB out on Pinocchio right away. ABBY: You guys... GIBBS: Welcome to my world, Abby. ABBY: Thank you, Gibbs. GIBBS: Anyone want to explain this? KATE: Tony and I were just discussing the shape of our bogus Colonel's face. TONY: Mmm, we haven't quite settled on the nose yet, though. GIBBS: Yeah, I can see that, DiNozzo. TONY: Uh listen, boss, we need a few more minutes, so if you want to go grab a coffee or... GIBBS: I have a better idea. Pull Kidwell and Peary's LES's for me. Kate and I will... KATE: I can do that. That is if you want me to. It's just that Tony seems to have a better handle on the program here. GIBBS: Okay. How do we reset this, Ab? KATE: (V.O.) What's an L-E-S? CUT TO: INT. NCIS LAB - DAY TONY: Leave and Earnings Statement. KATE: And where would one... TONY: Marine Corps Finance Center, Kansas City. What's the deal? KATE: Thanks. CUT TO: INT. KATE'S DESK - DAY KATE: (INTO PHONE) That's correct. Major James Kidwell and Major Craig Peary. I need their Leave and Earnings Statements for the last couple of years. Fax is fine. Attention Special Agent Todd. Thanks, Sergeant. CUT TO: INT. ABBY'S DESK - DAY TONY: Make the chin a little bigger, Abby, and I think we'll have him. That's him! GIBBS: Yeah, sure is. KATE: Ducky! Nice. While you were playing I sketched our fake colonel. ABBY: Whoa! I didn't know you were an artist. That rocks! GIBBS: I'm impressed. TONY: Let me see that. What the--? KATE: That's personal. TONY: Yeah, it is. Do I really seem like that? GIBBS: I'm really impressed now. (TONY FLIPS THE PAPER) KATE: Abby, I didn't mean anything by that. It's... ABBY: I love that! You gotta let me hang it up. TONY: I can't wait to see the one you did of Gibbs. KATE: Oh, just give me that. Uh... so Kansas City said it would take twenty four hours to get the Leave and Earnings Statements. GIBBS: You've got twelve. I want them first thing in the morning. Abby, run his likeness through. We'll concentrate on Government employee databases and D-O-D personnel. ABBY: You got it, Gibbs. KATE: What does he expect to find from their L-E-S's? TONY: Come on, Kate. That's like NCIS one oh one. KATE: You have no idea, do you? TONY: Not a clue. CUT TO: EXT. CEMETERY - DAY (MUSIC OVER ACTION/GIBBS STANDS NEAR THE GRAVE MARKER) (SFX: CAMERA SHUTTER CLICKS) MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY GIBBS: Kate, twelve hours was up fifteen minutes ago. TONY: Next time, have them fax them in order. KATE: Point taken. Gibbs, are you going to tell us what these are for? SARAH: Agent Gibbs? GIBBS: Mrs. Kidwell. SARAH: There was another phone call. O'DONNELL: And this time we have proof that Jim's still alive. O'DONNELL: (V.O.) Jim left a message on my machine... CUT TO: INT. NCIS LAB - DAY O'DONNELL: ...the same day he called Sarah. TONY: The funeral? O'DONNELL: Yes. With everything that was going on I didn't have time to check my messages until this morning. GIBBS: You seem pretty confident that's Kidwell, Major. O'DONNELL: I've known Jim since we were Second Lieutenants at The Basic School. It's his voice, Agent Gibbs. GIBBS: Well, we're about to find out. Abby? ABBY: Ah! Sorry. GIBBS: Let's see what you've got. ABBY: Okay. This... this is the old school version. KIDWELL: (ON TAPE/FILTERED) Danny... tell Sarah... trust... got... find Peary... call mobile. GIBBS: You can tell it's him from that? ABBY: Well, lucky for you, you've got a mix master in the hizzouse. GIBBS: A what? TONY: It means house. You need to get out more, Gibbs. ABBY: Word. Okay, here's the filtered version. KIDWELL: (ON TAPE/FILTERED) Danny, tell Sarah... trust...got... find Peary. Call mobile. ABBY: I ran it against six word samples I have from the Kidwell's home videos. They didn't match. TONY: So it's not Kidwell on the tape? ABBY: That's what I thought at first, too, but I forgot to factor in the phone line. Ma Bell eliminates any frequency that's below four hundred hertz and above three thousand four hundred. It allows for moderate distance transmission. That's why when people think they sound differently on the phone, they do. It's all about the band. GIBBS: Mix master. Today. KIDWELL: (ON TAPE/FILTERED) Danny....tell Sarah...trust...got...find Peary...call mobile. ABBY: We've got a dad man calling. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM (SFX: MEN WHEEL THE COFFIN INTO THE ROOM) TONY: Sorry I couldn't help you with the digging, boys. Old pro basketball injury. KATE: You played pro ball? TONY: Well, I was watching a game while it happened. Top's been screwed shut, boss. KATE: They obviously didn't want anyone looking in before the funeral. TONY: Or getting out. O'DONNELL: I don't see why Sarah can't be present for this. GIBBS: Do you know what's in this box, Major O'Donnell? O'DONNELL: No, but it's not Jim Kidwell unless he's figured out a way to make calls from the grave. GIBBS: Well, you know what - we're going to find out. KATE: Don't we have to wait for Ducky? GIBBS: Kate, if there's a body in here, it's not going anywhere. (SFX: POWER SCREWDRIVER B.G.) TONY: I'm just hoping it's not another mummy. (SFX: POWER SCREWDRIVER B.G.) (SFX: LID OPENS) O'DONNELL: Oh, my god! TONY: I've got to admit, I wasn't expecting that. KATE: He looks alive. O'DONNELL: It's uh... it's Jim. (MUSIC OUT) MUSIC IN: INT. NCIS SQUAD ROOM (SFX: SARAH SOBS B.G.) KATE: We sure screwed that up. TONY: Yep. Still doesn't explain the cover up and fake Colonel. KATE: They're called Classified Ops for a reason, Tony. We'll probably never know. TONY: The phone call? Your calling plan include the afterlife, Kate? KATE: Voice recognition isn't an exact science. TONY: Neither is Gibbs' gut, and he's convinced there's more going on here than a crank call. KATE: Well, I hate to break it to you, Tony, but Gibbs can be wrong sometimes. TONY: Name once. KATE: The man's been married like four times. TONY: There is that. GIBBS: There is what? TONY: Nothing, boss. Just discussing the case. KATE: Or a lack thereof. Do you still want to take a look at those L-E-S's? GIBBS: I don't know. Have you figured out how Kidwell died yet? KATE: I'll um... I'll just get them in order for you. GIBBS: Kate? It was three times. Not four. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: I'm afraid we've got a bit of a mystery here, Gibbs. GIBBS: Tell me something I don't know, Duck. DUCKY: Our major appears to be in perfect health. GIBBS: Except for the part where he's dad. I need to know how and when. DUCKY: How I'm still working on. When is another question entirely. Yes, the young man has been embalmed. GERALD: And whoever did the job was definitely a pro. TONY: How can you tell? GERALD: My grandfather owned a funeral home. We spent a lot of quality time bonding over the embalming table. DUCKY: Do you know what a trocar is, Tony? TONY: I'm guessing it's not an alien on Star Trek? DUCKY: It's from the French trocar. Three quarts. It's used to enter the abdominal cavities so that the lungs and other major organs can be drained of fluids. But as you can see, whoever did this barely left a mark. TONY: He does look good for a dad guy. DUCKY: Well, skin tone is simulated by dyes. Every mortician has his own family recipe. This is one of the best I've seen. GIBBS: Can you tell me when he died? DUCKY: He's been perfectly preserved. He could have died days ago or even months. It's impossible to tell which. GIBBS: Official cause of death is listed as in the line of duty two weeks ago. DUCKY: Well, two weeks I can believe. But L-O-D usually implies an accident or an injury received in combat. Look, besides minimal bruising of the wrists, really, there's no sign of any external trauma, and his insides...oh, outside of the embalming process there's no evidence of any internal injury. GIBBS: There's a rumor going around he might have been poisoned. DUCKY: That's possible. But the tox screens wouldn't be able to detect it. TONY: Why's that? DUCKY: His blood's been replaced by embalming fluid, formaldehyde, methanol, ethanol. Looking for another toxin would be like looking for a needle in a haystack. GIBBS: A dad Marine with no obvious cause of death and someone who didn't want us digging him up. Give you any ideas, Ducky? DUCKY: One in particular does come to mind. GIBBS: Me, too. Keep looking. I'll need an answer soon. DUCKY: He's talking about mrder, gentlemen. TONY: I knew that. DUCKY: (TO KIDWELL) I don't suppose you'd be willing to phone me, Major, and tell me how? CUT TO: INT. SQUAD ROOM - DAY KATE: Kidwell's Leave and Earning statements are on top. Two years worth. Now what? GIBBS: Even top secret spooks get paid. KATE: And this will help us because...? GIBBS: The government records everything, Kate. Days at sea, when they received hazardous duty and combat pay. Divorces. His records may be sealed, but if we follow his paycheck... KATE: We'll find out where he was stationed. TONY: And who was paying him. GIBBS: You have one hour to break that down for me. KATE: Oh, red tape that is actually useful. Who knew? TONY: Gibbs. But you know what really ticks me off? KATE: Gibbs? TONY: No. These guys get paid more than I do. (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Gibbs. LISA: (V.O./FILTERED) I don't appreciate being interrogated, Agent Gibbs. GIBBS: (INTO PHONE) Well why don't we start with, who is this?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) LISA: (INTO PHONE) Lisa Peary. Don't you think I would have told you if Jim Kidwell called me? (SCENE CUT) GIBBS: (INTO PHONE) Well, exactly who is interrogating you, Mrs. Peary? (SCENE CUT) LISA: (INTO PHONE) He said his name's Agent DiNozzo. (SCENE CUT) GIBBS: (INTO PHONE) When did this happen? (SCENE CUT) LISA: (INTO PHONE) He's here right now. (SCENE CUT) GIBBS: (INTO PHONE) Where? (SCENE CUT) LISA: (INTO PHONE) Coleman Park. GIBBS: (V.O./FILTERED) We'll be there in fifteen minutes. Does he know... (SCENE CUT) GIBBS: (INTO PHONE)...I'm on the phone talking to you? (SCENE CUT) LISA: (INTO PHONE) No, I don't think so. (SCENE CUT) GIBBS: (INTO PHONE) See if you can't keep him there until I get there. (END TELEPHONE INTERCUTS) CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Interesting, Gerald. (SHOUTS) Gerald! GERALD: I'm sorry. I was listening to a football game. DUCKY: You're wearing a CD player. Are you trying to tell me you find me boring? Never mind. What do you make of this material filling the incision cavity? GERALD: Well, my grandfather normally used cotton, but in a pinch we sometimes packed it with old newspaper. DUCKY: To Abby, please. GERALD: Sure. Right away. (GERALD WALKS O.S.) DUCKY: Football. Honestly. (bat) Oh, dear Lord. I believe I know how you died, Major. And may the Lord have mercy on your soul. MUSICAL BRIDGE TO: INT. PARK - DAY GIBBS: Mrs. Peary. LISA: Ah, I tried to keep him here but I think he knew something was up. GIBBS: Does this look like the man? LISA: Yes. If he doesn't work for NCIS, who does he work for? GIBBS: I don't know but I promise you I'm going to find out. Which way did he go? LISA: Five minutes ago. Wearing a black windbreaker. GIBBS: Take your kids home. I'll be in touch. LISA: Kids, let's go! Come on! (VOICE: "Okay, Mom!") MUSICAL BRIDGE TO: EXT. DIRT PATH - DAY GIBBS: I don't think so.(MUSIC OVER ACTION/GIBBS CHASES MAN) (GIBBS RUNS DOWN THE EMBANKMENT) (SFX: gn) GIBBS: Son of a... (SFX: CAR ACCELERATES) GIBBS: That's twice. Next time you are mine. KATE: (V.O.) September... MUSICAL BRIDGE TO: INT. SQUAD ROOM KATE: ...his unit code changed to three zero three seven zero. His D-S-N-N changed to... TONY: Slow down! Slow down, please! KATE: How could you work in law enforcement your entire life and not learn how to type? TONY: I'm a man of action, Kate. KATE: More like an action figure. TONY: Why? Do you want to play with me? KATE: As in you look good but you really can't do much. TONY: But I look good. KATE: Uh... Gibbs, is there anything you want to tell us about? GIBBS: I got sht at by our fake Colonel. TONY: No way! Did you nail him? GIBBS: Nope. What did you guys find? KATE: Right. Um...in September Peary and Kidwell were transferred from SATCOM to a new unit. TONY: We've got the RUC number but they're not listed in Marine Corps database. GIBBS: They wouldn't be. They weren't working for the Corps. Definitely CIA. KATE: How do you know that? GIBBS: How many agencies you know that drive economy class armored cars? Come on. Ducky wants to talk to us. (GIBBS WALKS TO THE DOOR) TONY: He's really pissed off. KATE: What? How can you tell? (LONG bat) I really need to get better at reading men. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: It was quite brilliant actually. I almost missed it. But while I was examining the embalming incision, I discovered that the carotid artery showed absolutely no sign of decay. Yes, I once saw a similar case in West Germany where a young boy... GIBBS: Duck, we don't have time for stories on this one. DUCKY: Fine. But first, I'd like to ask a question. Do you people find me... boring? GIBBS/KATE AND TONY: (OVERLAP) No, of course not. GIBBS: Can we get back to this now? DUCKY: Yes. I then checked the vitreous for toxins. TONY: Vitreous? KATE: Eyeball jelly. DUCKY: Very good, Kate. The concentrations of methanol confirmed my suspicions. The reason I was unable to determine the cause of death was because our major was alive when they embalmed him. CUT TO: INT. NCIS LAB - DAY ABBY: The stuff inside Kidwell's neck was definitely newspaper. I'm still processing the scraps, most of it's unreadable, but what I do have is in Spanish. KATE: Well that means that Kidwell and our fake Colonel were probably in Central or South America recently. ABBY: I could run his likeness past Marine detachments on embassy duty. GIBBS: Yeah. Run it. Okay, DiNozzo, what's it say? TONY: Something about farmers markets and shoes required. ABBY: Yeah, but look at this. TONY: December twelfth. KATE: That can't be right. That was two days ago. The funeral was on the... GIBBS: Eighth. TONY: So how does a guy get into a coffin that was buried four days before he supposedly died? KATE: They knew we were going to dig him up. GIBBS: They klled him and hoped we wouldn't notice. CUT TO: INT. SQUAD ROOM - NIGHT KATE: We know Kidwell was mrder. TONY: And that lying sack of excrement is somehow involved. What? You prefer I call him a sack of-- KATE: The question now is what happened to Major Peary. Is he still alive? GIBBS: There's an easy way to check. KATE: What? Do you think Mrs. Peary is just going to give us permission to dig up his grave? GIBBS: I don't know, Kate. I wasn't planning on asking her. ABBY: Hey, guys. GIBBS: Abby, have you tracked this guy down? ABBY: Not yet, but I've only heard back from about half of the embassies. KATE: What is this thing, Abby? ABBY: Ground penetrating radar. Gibbs didn't tell you? KATE: Tell us what? ABBY: You're going grave robbing tonight. CUT TO: EXT. CEMETERY - NIGHT TONY: This is so not right. I mean, it's not like we couldn't have done this during daylight. KATE: Are you afraid of ghosts, Tony? TONY: No, I'm afraid of getting sht for trespassing. Where the hell is Gibbs? GIBBS: Right here. TONY: Don't do that. GIBBS: Did you calibrate the radar yet? TONY: Just about. Check this out. Oh, yeah. Look it. KATE: What's that by the feet? TONY: I don't know. GIBBS: Fluffy. KATE: Eww! TONY: That must have been one lonely old lady. GIBBS: And one pissed off poodle. Okay, bring it over here. Let's see if Major Perry's home. TONY: All right. Well, the casket's metal, Boss. I'm getting some false signatures, but...there is definitely something in there. And it is not Major Peary. (MUSIC OUT) FADE IN: INT. NCIS SQUAD ROOM - NIGHT ABBY: You can run but you cannot hide. What's up, Jack? I've got a friend that's looking forward to beating you. Courtesy of the Marines at the Colombian Embassy. His name is Jack Canton. GIBBS: This should be enough to get the director of the CIA out of bed. (SFX: KATE YAWNS) GIBBS: Tired, Kate? KATE: It's two a.m., Gibbs. GIBBS: Better get moving then. TONY: On what? GIBBS: I need to know where the newspaper was published that was found in Kidwell. KATE: Tonight? GIBBS: Technically speaking, it's this morning. CUT TO: INT. MTAC ROOM - NIGHT MORROW: Those Marines we were talking about the other day. What were they doing in Colombia, Bob? DIRECTOR: (ON SCREEN) Well, they were part of a task force that was helping the locals hunt down Carlos Morales. He's the head of the Putumayo drug cartel. MORROW: How did they die? DIRECTOR: (ON SCREEN) Poisoned. Insurgents kidnapped them. We paid the ransom, but they klled them anyway. It happens. GIBBS: How much was the ransom, Mister Director? DIRECTOR: (ON SCREEN) Two million. Why? (SFX: COMPUTER BEEP TONE) MORROW: Was this the agent responsible for paying it? DIRECTOR: (ON SCREEN) And if it is? GIBBS: We think he kept the money for himself. Now he's trying to cover it up. DIRECTOR: (ON SCREEN) Those are pretty bold accusations, Agent Gibbs. Do you have any proof of this? GIBBS: Major Peary wasn't in his grave. And Kidwell was alive four days ago. You tell me, Sir. MORROW: Where is he now, Bob? DIRECTOR: (ON SCREEN) Well now he's on his way back to Colombia. Look, if any of this turns out to be true, we will handle it. I do not need NCIS playing internal affairs for my agency. MORROW: Understood. (SFX: WALL SCREEN OFF) MORROW: Go get our Marine. MUSICAL BRIDGE TO: INT. C-130 - FLYING (SFX: STORM B.G.) TONY: I'd like to officially go on record as saying I really, really miss the Gulfstream we took to GITMO. Are you hungry, Kate?(SFX: KATE GAGS B.G.) KATE: Oh....oh, Tony. Do I look hungry to you? TONY: Now that you mention it, you kind of look like...(SFX: THUNDER/ BANGING B.G.) KATE: Tell me that's normal. TONY: Sure.(SFX: BANGING B.G.) TONY: Uh, no. That I'm not so sure about. KATE: Great. How long 'till we get to Colombia? TONY: Not long. Five, six hours, tops. KATE: Is he really sleeping or is that just an act. TONY: No, he's really sleeping. KATE: How can you tell? TONY: He looks peaceful. (PASSAGE OF TIME) (GIBBS AWAKENS LOUDLY) GIBBS: Good morning. Sleep well? KATE: By "well" you mean violently throwing up all night and bouncing around like rag dolls? TONY: Yeah, boss. We slept very well. Thanks for asking. GIBBS: Aw...you'll get used to it. KATE: That's what I'm afraid of. CO-PILOT: Sir, we'll be landing in about thirty minutes. GIBBS: Did you hear back from the embassy yet, Staff Sergeant? STAFF SERGEANT: The Marines are expecting you. They won't let Canton's partner leave his office until you get there. GIBBS: Okay. My compliments to the pilot. (bat) What you looking for, Kate? KATE: Uh... the ladies room. (TONY CHUCKLES) KATE: Okay, the men's room. GIBBS: There's no men's room. KATE: Well then how the hell am I supposed to go to the bathroom? (bat) You're kidding, right? No way. Forget it. I can wait. GIBBS: Okay. Suit yourself. KATE: Damn it! Where? GIBBS: Well, if you want some privacy, probably go down behind those boxes there. KATE: God I miss Air Force One. CUT TO: EXT. EMBASSY - DAY GIBBS: (V.O.) What do you mean you lost him? CUT TO: INT. FIELD OFFICE - DAY GONZALES: We tracked Canton to an insurgent camp. By the time we got there he was gone. GIBBS: What do you think about that, Kate? Do you think Agent Gonzales here is working for Canton? KATE: It's possible. Two million can go a long way in Colombia. GONZALES: If I was rogue do you think I'd be sitting in this office sweating my ass off, Agent Todd? KATE: I don't know. Let me see your ass. GONZALES: Canton doesn't even know we're onto him. He's probably going to walk into this door tomorrow. GIBBS: Yeah, well that's a good plan, except by then Peary'll probably already be dad. TONY: The newspaper we found on Kidwell was published in Bosa. GONZALES: That's about ten miles from here. TONY: How many funeral parlors would you say they have? GONZALES: What does that have to do with anything? GIBBS: Humor us. CUT TO: EXT. FUNERAL PARLOR - DAY GONZALES: There's Canton's car out front. How'd you know? GIBBS: Because he embalmed Major Kidwell when he was still alive. GONZALES: He's joking, right? TONY: Canton told your agency the Marines were poisoned two weeks ago. GONZALES: Yeah, with formaldehyde. TONY: Well, if Peary's body turns up sab, sht or beaten, he blows his cover. KATE: And then there's the time of death. He can't have two day-old bodies. The embalming hides it. The perfect cover up. GIBBS: No such thing. GONZALES: I always knew he was a sick bastard, but that's just... hold on, Gibbs. This isn't the U.S. I've got to call the Colombians in on this. GIBBS: Well, you do that. Tony take the front door. Kate and I will go around back. GONZALES: Now I know why everyone in the CIA hates these guys. (MUSIC OVER ACTION/TONY/ KATE AND GIBBS MOVE TOWARD THE FUNERAL HOME) (CAMERA ANGLE ON PRIEST RECITING PRAYER IN SPANISH) (ACTION CONTINUES AS THEY MOVE CLOSER TO THE FUNERAL HOME WINDOWS) (SFX: GIBBS WHISTLES) (SFX: gn) (MUSIC OVER ACTION CONTINUES AS THEY RUSH INTO THE FUNERAL HOME) CUT TO: INT. CHAPEL - DAY TONY: Get them out of here! GONZALES: (IN SPANISH) It's an emergency! Get out! MUSICAL BRIDGE TO: INT. HALLWAY - DAY (MUSIC OVER ACTION/KATE AND GIBBS MOVE DOWN THE HALLWAY) MUSICAL BRIDGE TO: INT. DOOR TO BASEMENT - DAY GONZALES: Are you ready? (SFX: gn) TONY: Maybe not. MUSICAL BRIDGE TO: INT. HALLWAY - DAY GIBBS: (SHOUTS) Grenade! (SFX: explsin) (CAMERA ANGLE ON PATRONS AS THEY RUSH FROM THE CHAPEL) (SFX: VOICES B.G. IN SPANISH) GIBBS: Are you okay? KATE: I think so. Is that my blood? GIBBS: No. CANTON: (V.O.) Gibbs, I know you're out there. Answer me or I'll pop this Marine. GONZALES: Jack! It's me! Gonzales! I'm coming in! CANTON: This doesn't concern you, Gonzales. I want Gibbs. Unarmed. (SFX: gn) (SFX: GONZALES SLUMPS TO THE FLOOR) CANTON: (V.O.) I said Gibbs. (ON CAMERA) The Marine is next. GIBBS: If he dies, you die. You don't get past me. CANTON: Look, I just want to talk to you, okay? GIBBS: Why don't I believe that? CANTON: From where I'm standing, you don't have much choice. If you want your Marine back, you deal with me. GIBBS: Okay. (TO KATE) Relax your shoulders. CANTON: What's it going to be, Gibbs?! GIBBS: I'm coming in. (MUSIC OVER ACTION/GIBBS WALKS INTO THE ROOM) CANTON: Two million dollars. It was all mine. But you wouldn't let up. You really think I'm going to let you walk out of here? GIBBS: I figured you were going to say that. CANTON: I can't believe you trusted me. GIBBS: You sound just like my ex-wife. (MUSIC OVER ACTION/KATE AND TONY fre AT CANTON) (SFX: RAPID g*n) DISSOLVE TO: EXT. PEARY HOUSE - DAY (SFX: CHILDREN B.G.) ZACK: Kick the ball straight. TRACY: Watch me again.(SFX: CAR SLOWS TO A STOP) (SFX: CAR DOORS OPEN/CLOSE) ZACK: Daddy! It's Daddy! Daddy! Daddy, I missed you! TRACY: Daddy, Daddy, Daddy! MAJOR PEARY: Hey! I really missed you. (TO GIBBS) Thank you. Thank you all so much. LISA: Oh god, what happened to your ear? MAJOR PEARY: I'll live. (KATE/ TONY AND GIBBS WALK TO THE CAR) TONY: I'm telling you, that wasn't my fault, Kate. KATE: Oh, so it was mine? TONY: Gibbs saw the whole thing. Let him decide. KATE: Fine. Ask him. TONY: I will. (SFX: CAR SLOWS TO A STOP) (SFX: HORN HONKS) (GIBBS DRIVES OFF WITH THE REDHEAD) (MUSIC OUT) (ENDING CREDITS AND TITLE UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x09 - Marine Down"}	foreverdreaming
"LEFT FOR dad" MUSIC IN: EXT. PARK ROAD - NIGHT (SFX: CAR DRIVES PAST) (MUSIC OVER ACTION/ CAMERA PANS OVER THE GROUND) (SFX: EARTH MOVES B.G.) (MUSIC OVER ACTION/WOMAN CLIMBS FROM A GRAVE AND RUNS UP THE HILL TO THE ROAD) WOMAN: (SHOUTS) Stop! Stop! (CAR BRAKES TO A STOP) DRIVER: Did your car run off the road? WOMAN: I don't think so. I was buried. TOM: Buried?! WOMAN: Back there. TOM: Ellie, call nine one one! WOMAN: No. TOM: Easy. Easy. I just want to get you in the car. It's warm. What's your name? WOMAN: I don't know! TOM: You're in shock. You'll remember in time. WOMAN: There isn't any time! (INTERCUT FLASHBACK SCENE OF DESTROYER EXPLODING) WOMAN: There's a bmb! TOM: A what? WOMAN: A bmb on a ship! A Navy ship! People are going to die! People are going to die! (CUT TO BLACK) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) FADE IN: INT. BASEMENT - DAY "LEFT FOR dad" VOICE ON TV: U.S. farm report. America's longest running agri-business news program.(SFX: PHONE RINGS B.G.) GIBBS: (INTO PHONE) Gibbs. TONY: (V.O./FILTERED) Hey, boss. Rise and shine. GIBBS: (INTO PHONE) Oh. Zero five twenty. That's all I get. I'm up. Are you at the office?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) TONY: (INTO PHONE) Yeah, the boiler blew in my apartment so... it knocked out the power. I won't have any heat or electricity for a month. (SCENE CUT) TONY: (V.O./FILTERED) Fall asleep working on your boat again? GIBBS: (INTO PHONE) Why do you say that....? TONY: (V.O./FILTERED) Boss, I know the Farm Report when I hear it. (SCENE CUT) TONY: (INTO PHONE) You only have one TV and it's in your basement. (SCENE CUT) GIBBS: (INTO PHONE) What do you got, DiNozzo? (SCENE CUT) TONY: (INTO PHONE) A motorist picked up a Jane Doe in Rock Creek Park. Claimed she dug herself out of a grave. No ID. And guess what? (SCENE CUT) GIBBS: (INTO PHONE) She can't remember her name? (SCENE CUT) TONY: (INTO PHONE) Yeah, how'd you know that? (SCENE CUT) GIBBS: (INTO PHONE) Well, uh... she's alive and you're calling her Jane Doe. What was my first clue? (SCENE CUT) TONY: (INTO PHONE) Oh, yeah. That's right. (SCENE CUT) GIBBS: (INTO PHONE) Well, it's also obvious that she has no I.D. so she was probably wearing a uniform. (SCENE CUT) TONY: (INTO PHONE) Ah ha ha! She wasn't! So why did the cops call NCIS? (SCENE CUT) TONY: (V.O./FILTERED) Now tell me that. (SCENE CUT) TONY: (INTO PHONE) She told them there's a bmb on a Navy ship. (SCENE CUT) GIBBS: (INTO PHONE) Hospital? (SCENE CUT) TONY: (INTO PHONE) Georgetown University. (SCENE CUT) GIBBS: (INTO PHONE) Get Kate over there. I'll call Ducky and meet you outside the office in twenty. (SCENE CUT) TONY: (INTO PHONE) Hey listen, since um, you know... (SCENE CUT) TONY: (V.O./FILTERED) ...you're always up all night working on your boat downstairs... GIBBS: (INTO PHONE) No, you cannot stay at my place. Remember last time? (SFX: DIAL TONE) (END TELEPHONE INTERCUTS) (TV ANNOUNCER B.G.) (GIBBS SIPS HIS COFFEE) GIBBS: Oh... CUT TO: EXT. PARK WOODS - DAY DUCKY: It's not very deep. GIBBS: Hastily dug graves rarely are. DUCKY: Do you know why graves are six feet deep, Gibbs? GIBBS: I do. DUCKY: Six feet is the minimum depth at which the smell of a decomposing corpse cannot attract wild animals. Of course, there are exceptions. A polar bear can smell... GIBBS: Duck, I said I knew. DUCKY: Sorry. TONY: No tracks. Whoever buried her may have parked on the street and used the hiking trail. The park rangers circle hourly at night, so he'd have to move pretty fast to be parked on the road. GIBBS: Well, that goes with the shallow grave. Our digger was in a hurry. Okay, let's get to work. DUCKY: I don't have a body. GIBBS: Go find one, Duck. DUCKY: Here? GIBBS: Sure. How many times have we had multiple victims? DUCKY: Quite right, Jethro. (DUCKY WALKS O.S.) TONY: (CHUCKLES) That's slick, Boss. GIBBS: What's that? TONY: Getting Ducky off so he wouldn't bug us with one of those stories about... (bat)..we'd better get back to work. MUSICAL BRIDGE TO: INT. HOSPITAL - DAY SANDERSON: Her amnesia can be rooted in a number of causes. She suffered blunt force trauma to the cranium. There was some petechial hemorrhaging which is-- KATE: Whoa. Petechial? SANDERSON: I'm sorry. Um... pinpoint hemorrhaging on her eyelids. It's from a lack of oxygen. KATE: She came close to suffocating in that grave? SANDERSON: Very close. And as if the physical traumas weren't enough, one has to consider the emotional trauma of being buried alive. KATE: That would shake me up. SANDERSON: It's one of our oldest fears, next to being eaten by a wild animal. KATE: I hadn't considered that one. SANDERSON: Well, perhaps not consciously. Um... Jung postulated that we genetically inherited our primordial fears which can be triggered by smells or sounds. Oh! I'll never forget my first trip to Africa. There was a moment where... KATE: (OVERLAP) Are you by any chance related to a Doctor Mallard? SANDERSON: Mallard? No, I don't think so. KATE: Just wondering. When will she regain her memory? SANDERSON: Well, it could happen in a flash or slowing over a period of days, weeks, even months. Now her memory of being buried may never return. KATE: Where are they taking her? SANDERSON: For a CT scan and a neurological consult. MUSICAL BRIDGE TO: EXT. WOODS - DAY GIBBS: (INTO PHONE) No, you will not put her picture on TV. KATE: (V.O./FILTERED) I really... GIBBS: (INTO PHONE) I want whoever did this to think she's still dad. No, Kate. No. Our priority is finding the bmb. (TO TONY) She's bonded. TONY: Kate and Jane Doe? GIBBS: Oh, yeah. She hasn't even questioned her yet. (IMITATING KATE) Her eyes... they just pleaded for help. TONY: I love that look in a woman. DUCKY: (V.O.) I couldn't find a body. TONY: Sorry. DUCKY: How did you two do? GIBBS: I found a couple of arrowheads. DUCKY: Ah! Yeah - this one's an arrowhead, but this one's a shark's tooth. And oh... not more than a few thousand years old. TONY: That recent? DUCKY: Oh yes. Any older and it would be blackened and fossilized. TONY: How'd it get into Rock Creek Park? DUCKY: Oh, Pre-Colombian Indians - they either found a dad shark on the shore or procured it from a Casimoroid tribe. We have to notify ARPA. GIBBS: After we're done here. DUCKY: Come on, Gibbs. It's a two hundred and fifty thousand dollar fine for disturbing an archeological site. GIBBS: Crime site first, Duck. TONY: You know, I was just thinking. Since the arrowhead and shark's tooth were here before Jane Doe was buried....never mind. DUCKY: Wouldn't it be fascinating if our Jane Doe was unknowingly interred atop a prehistoric burial? It's happened to me once before you know. In sixty eight.... Or was it sixty seven? No matter. CUT TO: INT. EMERGENCY ROOM - DAY KATE: I appreciate your letting me do this. WOMAN: I'd like to know who I am, too. KATE: I'll need your clothes. WOMAN: My clothes? KATE: If you handled explsives, our forensic people will find particles on your clothing. WOMAN: Of course. KATE: Can I have your right hand please? WOMAN: I think I've done this before. KATE: If so, that's good news. You'll be on somebody's database. WOMAN: The FBI's trror1st list? KATE: You have to stop thinking like that. WOMAN: How am I to think? I know there's a bmb on a Navy ship and I put it here! KATE: Do you remember placing it? WOMAN: No. But I know it's there. KATE: Well, knowing it's there doesn't mean you placed it. Does it? WOMAN: No. I suppose not. (VOICE OVER P.A. B.G.) (INTERCUT FLASHBACK SCENES OF INSIDE THE CHURCH) KATE: What is it? WOMAN: I remember being in a church. KATE: Which church? WOMAN: I... don't know. KATE: You will. CUT TO: EXT. PARK WOODS - DAY DUCKY: We found a forty seventy caliber bllet lodged in the Comanche's femur. Now since the forty seventy cavalry carbine was introduced in eighteen seventy three we have an approximate date to work with. TONY: Speaking of dates to work from. We've worked together for two years and you know, I have no idea where you live. DUCKY: Well, I'd just as well we kept it that way, Tony. TONY: Right. GIBBS: Well, hello. DUCKY: Ah, another artifact? GIBBS: Only if your Pre-Colombians used keys. MUSICAL BRIDGE TO: INT. NCIS ABBY: I suppose you want me to find out what chastity belt this opens. GIBBS: Do I look like DiNozzo? TONY: Not funny, Boss. Besides, I could open a chastity belt. ABBY: Did you ever see one? Mine's awesome. It's eighteenth century French. TONY: You have a chastity belt? GIBBS: So much more information than I need to know about Abby, and not enough about this key. ABBY: The key opens a magnetized lock. Instead of serrations, magnets repel magnetized pins. GIBBS: Hotel room? ABBY: Possibly. But it could be any high security lock. There's no logos or serial numbers. But a magnetic code is like a fingerprint. So it'll lead me back to whatever system made the code on the key. KATE: Hospital called. The rpe kit's negative. Anything on her prints or clothing? ABBY: Nothing on the fingerprints yet, but the gas chromatograph should be giving me something on her clothes soon. GIBBS: Hey, how was your interview? KATE: It's sad, Gibbs. She's trying so hard. She desperately wants to help. GIBBS: I'm glad. But did she remember anything? KATE: She did. She thinks that she's been fingerprinted before. TONY: trror1st. KATE: And she remembers praying in church. She's not the trror1st type, Tony. TONY: Oh, so you're thinking more Emma Thompson than Angelina Jolie? (SFX: BEEP TONES B.G.) ABBY: Got a whup! GIBBS: What kind of whup, Abby? Abby? ABBY: Okay, um... this ht is erythritol. It's used in low-carb sweeteners. And this spike is trimethylene. It's found in polyester fibers. Dinitrate is a common angina medication. And this is glycol, and glycol is antifreeze. TONY: So Jane Doe uses low-carb sweetener, wears polyester, puts her own anti-freeze in her car and has a heart condition. ABBY: Or she's mixing up a brew to go boom! Big time. All these chemicals are used in high grade explsives. (MUSIC OUT) FADE IN: INT. HOSPITAL ROOM - DAY WOMAN: I don't know which is worse. Not knowing who you are... or knowing you're a trror1st. KATE: The chemicals on your clothing do not make you a trror1st. I told you they have other uses. WOMAN: My heart's fine. I hate polyester. I don't like artificial sweetener. KATE: How do you know? WOMAN: I just know. Like... I know I don't like strawberries, but I love blueberries. I know what I like and what I don't like, Agent Todd. I just don't know who I am, what I do or where I live. KATE: Okay, let's say the residue was from the explsives. It could have come from a...a legitimate occupation. WOMAN: What? I'm an explosiver hersteller? Explosiver hersteller. That means explsive maker in German! How do I know that? KATE: Maybe it's your job title? Sprechen sie Deutsch? WOMAN: No. KATE: Okay, maybe it's a German firm here. If you worked in Germany you would know the language. You realize what this can mean? WOMAN: Yeah. It means that I could have put a bmb on a Navy ship. KATE: Or... you know who did and they tried to kll you. WOMAN: You think? KATE: I do. WOMAN: Why do you believe in me? KATE: Why do you like blueberries? CUT TO: INT. HOSPITAL CORRIDOR - DAY SANDERSON: I can't release a woman who doesn't know her name, Agent Gibbs. GIBBS: What's the neurological consult say? SANDERSON: She's in no medical danger, but she doesn't know who she is, where she lives, her phone number, anything! I can't release her! KATE: Yes, you can, Doctor. Tell them, Maureen. WOMAN: My name's Maureen Ingalls. I live at six twenty Niagara Street in Alexandria. I don't think I ever remembered my phone number. GIBBS: You remember who buried you? KATE: She may always block that memory. Isn't that right, Doctor? SANDERSON: Yes. Most traumatic amnesiacs never recall the event which triggered the memory loss. In fact, I have a case where there were three accident victims who... TONY: (OVERLAP) What if her attacker returns? KATE: She'll be in protective custody at my place. SANDERSON: So you'll assume responsibility for signing her out? KATE: Of course. SANDERSON: I still suggest she stays for another twenty four hours, but since she's recovered her memory, I... KATE: Thank you, Doctor. Oh, and Ms. Ingalls has no clothes. So can she borrow a set of greens? SANDERSON: No problem. Follow me, please. KATE: I'll join you in a minute. (SANDERSON AND WOMAN WALK O.S.) GIBBS: Okay, who's Maureen Ingalls? KATE: How do you know she isn't? (bat) My cousin. TONY: That was a quick fold. GIBBS: Kate, do you realize the laws you're violating by signing her out when you know she's lying? KATE: Her memory is already coming back, Gibbs. She remembered the German word for "explsive fabricator." TONY: She speaks German? KATE: No, but I think she makes explsives for a German firm here. TONY: Or a German trror1st cell with ties to Al Qaeda. KATE: Well, since Al Qaeda is not listed in the Yellow Pages, let's start checking German munition makers first. TONY: Whoa. What's with you and Jane Doe? KATE: She'll be occupying my spare bedroom so I don't have to say no to you. TONY: Oh, did I ask? Did I? GIBBS: Why are you doing this, Kate? KATE: She's terrified, Gibbs. I should think my place would be more conducive to her recovering her memory than a hospital. And we need to find that bmb. CUT TO: INT. NCIS LAB - DAY (MUSIC PLAYS B.G.) ABBY: Gotcha! GIBBS: Love to hear that word out of your dark lips, Abby. ABBY: Hey guys. What did you find? TONY: Kate willing to give her bedroom to Jane Doe and not me. ABBY: Shocking. GIBBS: The gotcha? ABBY: You were right, Gibbs. I matched the magnetic code to a system made by MagSecure. It's a hotel key. GIBBS: You got a list of the hotels? ABBY: MagSecure's faxing it over. It'll be here shortly. TONY: What's that on the top? ABBY: A scratch. TONY: Mm, that's more than a scratch. ABBY: You might actually be right. TONY: Want to know what my vision is? GIBBS: No. TONY: Twenty ten. Same as Ted Williams. He could see the seams on a fastball coming at him. GIBBS: How about knuckles? (SFX: BEEP TONES) ABBY: Whoa. GIBBS: Whoa. How did someone etch letters that small? ABBY: Micro-laser. It was developed to put serial numbers on diamonds. The numbers are invisible to the naked eye... TONY: Not mine. ABBY: .... so the thieves think their heist is fence-able and then wham - they get five to ten. GIBBS: Why use them on a room key? ABBY: Maybe somebody was playing with the hotel's new toy. Like when photocopiers first came out and people were copying everything from C-notes to their butts. TONY: You sat your naked butt on a photocopier, didn't you, Abby. ABBY: Yep. CUT TO: INT. KATE'S APARTMENT - DAY WOMAN: (V.O.) This is you with the President. KATE: I used to be with the Secret Service on Air Force One. WOMAN: Why'd you leave? KATE: Work at NCIS is more interesting. WOMAN: Than flying around the country with the President? KATE: Well, it's not all it's cracked up to be. Constantly on edge. Worried that some nut is going to take a sht at him. WOMAN: Or blow him up. KATE: Try this sweater and pants. They should fit all right. WOMAN: I've been trying to recall that ship. I know it's not a carrier. KATE: Submarine? WOMAN: No. KATE: There are no active battleships so it would have to be a cruiser or a destroyer. (SFX: COMPUTER BEEP TONES B.G.) WOMAN: They look the same. KATE: Not to the Navy. WOMAN: No, it's one of them I'm sure of it. Can't you just search them? KATE: Well, these aren't two ships. They're two classes of ships. There are eighteen destroyers and seven cruisers in Norfolk alone. WOMAN: Oh. I wish I could give you a name. KATE: Maybe you can. MUSICAL BRIDGE TO: INT. NCIS LAB - DAY (MUSIC B.G.) ABBY: It looks like they're only three hotels in the D.C. area that use MagSecure keys. TONY: And the phone number for the Jackson is five five five... GIBBS: (OVERLAP) Triple five zero one hundred. TONY: Do you got contact lenses? GIBBS: Nope. (INTO PHONE) Can I talk to your manager, please? TONY: Laser surgery? GIBBS: No. DiNozzo, put a sock in it. Contact the rest of these hotels. (INTO PHONE) Special Agent Gibbs, NCIS. Navy Criminal Investigative Service. CUT TO: INT. KATE'S HOUSE - DAY WOMAN: I never knew the Navy had so many ships. KATE: Yeah, these are just the cruisers and destroyers. WOMAN: Some of the names sound familiar. KATE: The cruisers are named after battles and the destroyers are named after Naval heroes. WOMAN: None of them ring a bell, so to speak. KATE: It was worth a sht. (WOMAN SIGHS) KATE: What's wrong? WOMAN: I just feel a little dizzy. KATE: Maybe I should take you back to the hospital. WOMAN: No! No. I think... I'm just weak from hunger. I don't remember the last time I ate. KATE: Well we'd better get you some food then. (KATE OPENS THE CLOSET DOOR) WOMAN: I think I have a coat like this. KATE: Are you sure? WOMAN: The texture...and these buttons. Yeah. I'm positive. KATE: It's a Michael B. There's only a few stores that carry his line. WOMAN: Let's go. KATE: First we eat. WOMAN: Food can wait. Finding the bmb is more important. KATE: You never know when you get to eat on my job. CUT TO: INT. NCIS LAB - DAY TONY: None of the hotels micro-etch their keys. ABBY: Well, somebody etched "The Apartment" on that key. GIBBS: Maybe a permanent resident. What hotels besides the Jackson take permanent residents? TONY: Neither of them. GIBBS: We'll need a search authorization. TONY: How'd you know that Jackson had permanent residents? GIBBS: I just did. TONY: Did you used to live there once, Boss? Or... GIBBS: No. TONY: Did you know someone who lives there... GIBBS: My ex-wife lives there. TONY: Oh. Oh. So you didn't read the phone number, you knew it. CUT TO: INT. MICHAEL'S DESIGN SHOP KATE: Anything familiar? The sound of the traffic outside, the smell of the clothing ...anything? SALESWOMAN: It's been a while, hasn't it? WOMAN: You remember me? SALESWOMAN: Oh, no. Your coat's about three years old. Still looks great, though. You know, you should check out his new line. It's really fantastic. WOMAN: I prefer black. SALESWOMAN: Oh, of course. (DOOR OPENS) KATE: Do you recognize him? WOMAN: He reminds me of the man that attcked me. MUSICAL BRIDGE TO: INT. HOTEL CORRIDOR - DAY TONY: Very expensive-looking, Boss. I hope she's not sticking you with the... GIBBS: (OVERLAP) Has Mister Richter had a suite here for long? MANAGER: Over two years. GIBBS: Then you know him well? MANAGER: Well, not really. If the residents don't call us with a problem, we respect their privacy. Here we are, suite eighty seven hundred. Oh, my. (DOOR OPENS) MUSICAL BRIDGE TO: INT. DESIGNER SHOP - DAY KATE: (INTO PHONE) Gibbs. She just remembered the man who attcked her. GIBBS: (V.O./FILTERED) Okay. Did she give you a name? KATE: (INTO PHONE) Well, he's Caucasian, bald, late forties and when he attcked her he was wearing a... CUT TO: INT. HOTEL ROOM GIBBS: (INTO PHONE) ...blue blazer... CUT TO: INT. DESIGNER SHOP GIBBS: (V.O./FILTERED) Blue shirt, gn tie with a blue stripe? KATE: (INTO PHONE) You found him? GIBBS: (V.O./FILTERED) Oh, yeah. CUT TO: INT. HOTEL ROOM GIBBS: (INTO PHONE) We found him. (MUSIC UP AND OUT) FADE IN: INT. HOTEL ROOM - DAY KOCHIFIS: You're telling me the suits from Hoover didn't save the man? TONY: Hell, no. It was N-C-I-us. KOCHIFIS: Not according to the TV reports. TONY: Yeah, well when do they get it right? (TO GIBBS) Boss, this is Detective Andy Kochifis, Homicide - cut me some slack on the Major Kerry investigation. GIBBS: Maybe he'll do it again. KOCHIFIS: What? I do it once and I'm a whore? GIBBS: A courtesan, maybe. Richter had a year's lease, it's not the home address on his driver's license. TONY: There's no clothes in the closet. No photos. Just hotel amenities. GIBBS: Check the booze. TONY: Oh, yeah. That's not hotel stock. Macallan Eighteen, Belvedere and bmb Sapphire. KOCHIFIS: Could be a beltway bandit who leased this suite for company entertainment. GIBBS: In his own name? KOCHIFIS: Tony said an amnesia case led you here. GIBBS: Yeah, found a key to this place in Jane Doe's grave. KOCHIFIS: I thought she was alive. TONY: Yeah, she woke up taking a dirt nap in Rock Creek Park and did a Dracula. KOCHIFIS: That's a new one. GIBBS: Whoever buried her thinks she's dad. I'd like to keep it that way. KOCHIFIS: Okay. But why do you want the lead on the investigation? GIBBS: There may be a Navy trror1st attck in the mix. We'd just like to keep it all in one ball of wax. TONY: Yeah, look how well we did last time, huh... KOCHIFIS: Not according to-- TONY: To the TV, yeah. I know, don't rub it in. KOCHIFIS: All right, look. If our M.E.'s cool, so am I. DIGGER: Ducky, I should do this autopsy. DUCKY: Now Digger, I can cite you a dozen cases where the local authority was usurped by an ongoing Federal investigation. Look at Lincoln's assignation. He was sht at the Ford Theater only a few blocks from here. Now that is an autopsy I would-- (SFX: RAPID BEEP TONES) DUCKY: Seventy one point nine. DIGGER: (OVERLAP) Seventy two point three. DUCKY: My god, Digger. When did your department last update its field kits? Your probe is so old it could've been used on Typhoid Mary. Were you as amazed by her story as I was Digger? A healthy woman making all those people sick and not having a clue. Can you imagine not having a clue, Digger? DIGGER: You know, you're right. Our equipment is outdated. We're backed up at the lab anyway. He's all yours, Ducky. (TO KOCHIFIS) NCIS will handle the autopsy. KOCHIFIS: Okay, Aldridge. GIBBS: What'd he die from, Duck? GIBBS: A blunt object to the back of the head. Yes, I believe we'll find blood in hair. Well, blood on an object here. One of the bookends, the obelisk. The crystal ashtray. I hope he didn't suffer the indignity of being whacked by this tawdry bust of President Kennedy. GIBBS: Tony. TONY: I'm on it. GIBBS: Was he mrder before our Jane Doe was buried? DUCKY: Liver temperature was close to room temperature. So he deceased at least eighteen hours ago. GIBBS: You didn't answer my question. DUCKY: Jethro, I don't answer forensic questions I don't know the answers to. You know that. Why do you keep asking me? GIBBS: Force of habit. TONY: Bad news, Ducky. It looks like blood on the Kennedy bust. DUCKY: Oh, you poor man! CUT TO: EXT. CAFé - NIGHT WOMAN: What kind of person am I to be involved in this? KATE: Well, we don't know what the "this" is yet or how you're involved. And bad things happen to good people all the time. I sound like a self-help book. WOMAN: No, you've been wonderful to me. And I deeply appreciate it, Kate. I just wish I could remember more. KATE: So the name Walter Richter means nothing to you? WOMAN: Nothing. Will I have to look at his body? KATE: Maybe not. We're running a background check and we'll find out how he's connected to you - if he's connected to you at all. WAITRESS: Here you are. KATE: I'm starving. How about you? WOMAN: Famished. (INTERCUT FLASHBACK SCENE IN RESTAURANT) KATE: Tell me what you're seeing. WOMAN: A sad and lonely woman.(WOMAN CRIES B.G.) CUT TO: INT. NCIS LAB - DAY ABBY: Guys, this is weird. TONY: Ducky didn't like it either. Said it was tawdry. ABBY: Oh, no no. The bust is cool. It's what I found that's weird. There's a partial palm print on this bust of Kennedy. And if you remember your history, there was a partial palm print on the Mannlicher rfle used to assassinate Kennedy. TONY: Don't tell me that you tried to match them? ABBY: No, there's not enough of a print there to match. But I just thought it'd be cool to try. GIBBS: Are you saying that our palm print may be useless for identification? ABBY: Yes. But don't you think that's weird? That the Kennedy bust and the Kennedy mrder wapon both have partial palm prints. GIBBS: That's not what I think is weird, Ab. What about the latents you found at the hotel room? ABBY: Um... there were some unknowns and some matches. The ones on the crystal tumbler and the Macallan belong to the victim. But what's going to make your day is the latent you lifted off the desk. The one on the left side Kate took off Jane Doe in the hospital. On the right side... is your print from the desk. TONY: Oh, they match. ABBY: Fourteen Galton points. GIBBS: Jane Doe was in that hotel suite. MUSICAL BRIDGE TO: INT. AUTOPSY LAB - DAY DUCKY: Our victim died from a subdural hematoma caused by a skull fracture. I believe we'll find that this impression in the parietal lobe will match that on the gaudy bust of President Kennedy. GIBBS: Got a time of death yet? DUCKY: Well, due to the fixed lividity, the degree of putrefaction, the level of Escherichia coli in the stomach and digestive tract... GIBBS: Ducky! DUCKY: At least forty four hours ago. That's the best I can do with any certainly. GIBBS: Our Jane Doe was found at zero three fifty, Monday. Less than two days ago. DUCKY: It's safe to say our guest didn't put her in the ground. GIBBS: None of this is getting us to a bmb on a ship, Duck. TONY: Ah, but it is, Boss. Background on Richter. He was head of Security for a German firm. B-B-B. What is with the Germans and the alphabet thing? B-M-W, B-M-G, B-A-S-F. And they're all B's. GIBBS: I'm resisting the urge to say cut the B.S. TONY: B-F-F stands for bmb Fermentdeckung Fabrik. GIBBS: Tell me that bmb means the same in German as it does in English. TONY: (IN GERMAN) Jawohl mein Kapitan. (IN ENGLISH) B-F-F makes bmb detecting devices for the U.S. Navy. GIBBS: Yeah. CUT TO: INT. OFFICE - DAY BRAUER: In a hotel? GIBBS: The Jackson. BRAUER: (IN GERMAN) Mein Gott! (IN ENGLISH) Suite eighty seven hundred? I was there Friday. TONY: To kll Richter? BRAUER: No. How could you ask such a question? TONY: It's my job. BRAUER: I take it you don't have the mrder, Agent Gibbs. TONY: What were you doing at The Jackson Friday? BRAUER: We maintain a suite there. Two of our senior engineers were over from Berlin. We had drinks before dinner. GIBBS: Why is the room leased in Richter's name? BRAUER: Ours is a very competitive business. We don't want our arrivals knowing where our firm puts our people. Maids have been bribed. Phones bugged. TONY: People mrder. BRAUER: That's a first for us. GIBBS: It may not be the last. TONY: Who's your explosiver hersteller? BRAUER: Suzanne McNeil. Is she dad, too? GIBBS: Do you have a photo of her? BRAUER: Yes, in our personnel records. GIBBS: What kind of work does she do for you? BRAUER: She formulates explsives for our testing aids. Please tell me Suzanne is not dad. TONY: Suzanne is not dad. (BRAUER STOPS TYPING) GIBBS: Whoops. TONY: Big whoops. GIBBS: You looked kind of surprised to find out she is alive, Brauer. BRAUER: Yeah. You tell me Walter has been mrder. You say he may not be the only one. Then you ask me about Suzanne. Of course I assume that she is dad, too. (SFX: COMPUTER BEEP TONES) BRAUER: This is Suzanne McNeil. MUSICAL BRIDGE TO: INT. ELEVATOR - DAY KATE: Are you sure you're ready to do this? WOMAN: I don't know. But if it can help me regain my memory, I guess I have no choice, right? KATE: Come on. MUSICAL BRIDGE TO: INT. NCIS AUTOPSY ROOM KATE: Doctor Mallard, this is Jane Doe. DUCKY: Hello. WOMAN: Doctor. (SFX: DOOR OPENS/BODY SLIDES OUT) DUCKY: Ready? CUT TO: INT. HOTEL ROOM - FLASHBACK RIVERS: There is six months of severance here. I advise you take it and look for new worlds to conquer. (WOMAN HITS RICHTER ON THE HEAD WITH THE BUST) (END FLASHBACK) CUT TO: INT. AUTOPSY ROOM KATE: Anything? WOMAN: Nothing. Poor man. DUCKY: Yes. (MUSIC OUT) FADE IN: INT. ATRIUM - DAY (VOICES IN GERMAN B.G.) GIBBS: (INTO PHONE) Her name's Suzanne McNeil. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (V.O./FILTERED) She formulates explsives for B.F.F. KATE: Well if she put a bmb on a ship it could be for a test. (SCENE CUT) GIBBS: (INTO PHONE) I've e-mailed her personnel file to you. She's got a Top Security clearance. It'll be like telling her life story. (SCENE CUT) GIBBS: (V.O./FILTERED) She didn't recognize Richter? KATE: (INTO PHONE) No. No. All she felt was sympathy for him. (SCENE CUT) GIBBS: (INTO PHONE) She got all teary eyed over a body she didn't know? (SCENE CUT) KATE: (INTO PHONE) She's a nice lady, Gibbs. (SCENE CUT) GIBBS: (INTO PHONE) Oh, yeah. So you keep telling me. (CAMERA ANGLE ON TONY AND WOMAN) KATE: (V.O./FILTERED) Does Brauer know that she lost her memory? GIBBS: (INTO PHONE) Maybe. He knows she's alive. He's not in cuffs. (SCENE CUT) GIBBS: (V.O./FILTERED) He probably thinks she's unconscious or too traumatized to remember. KATE: (INTO PHONE) Are you sure he buried her? (SCENE CUT) GIBBS: (INTO PHONE) Oh, yeah. KATE: (V.O./FILTERED) Why did he want her dad? GIBBS: (INTO PHONE) I've got a couple of ideas. (SCENE CUT) KATE: (INTO PHONE) Want to share? (GIBBS HANGS UP THE PHONE/END TELEPHONE INTERCUTS) KATE: I guess not. (TO WOMAN) Suzanne! CUT TO: INT. ATRIUM - DAY (ELEVATOR DOORS SLIDE OPEN) BRAUER: I'll be with you in a moment. TONY: You see, you told that to Gibbs a half hour ago. Look at the expression on his face. Not good. Make this one a quickie. BRAUER: (IN GERMAN) Ich weiss... (TONY WALKS TO GIBBS) GIBBS: DiNozzo.... TONY: Sorry, Boss. This guy's Webster's definition of a micro-manager. People need his permission to take a whiz. GIBBS: I could have gone for coffee. What'd you pick up? Anything? TONY: No. Give me a few minutes with his girl and... (GIBBS HITS DINOZZO) TONY: (bat) ...from the little English I heard, the new "bmb Snuffler" isn't snuffling so good. Brauer's worried it won't pass Navy acceptance trials Thursday. GIBBS: Test? On a Navy ship? TONY: If I heard there were going to be tests on a Navy ship, do you think we'd still be standing here, Boss? GIBBS: Oh, sorry. Forgot your minds work concurrently. Where is this test taking place? TONY: In some lab here. BRAUER: I apologize for the delay, Agent Gibbs. What would you like to see first? GIBBS: The lab where you're conducting the Navy test on Thursday. BRAUER: Why do you want to go there? GIBBS: Your Security of Security is dad. NCIS is tasked with protecting Navy brass. BRAUER: You think trrorists klled him? GIBBS: These days I look for trrorists behind most everything. BRAUER: Of course. Ja. This way, please. CUT TO: INT. NCIS SQUAD ROOM - DAY KATE: Suzanne McNeil... this is your life. SUZANNE: Hmm. You read it? KATE: Yes. SUZANNE: Is there anything I wouldn't want to know? KATE: The sad and lonely woman? There's plenty of time for a husband and kids, Suzanne. SUZANNE: The good ones are all married. CUT TO: EXT. BUILDING - DAY GIBBS: How well did you know Suzanne McNeil? BRAUER: Oh, didn't she tell you? GIBBS: I'd like your opinion on her relationship. BRAUER: Well, I know Suzanne quite well professionally. She is one of my key employees. TONY: Kind of sexy, too. BRAUER: Oh, I think you find all women that way, Agent DiNozzo. TONY: Oh, come on. You've got to admit she's pretty sexy. BRAUER: I'm happily married. TONY: Yeah? GIBBS: Do you have micro-etching equipment here? BRAUER: Yeah. Richter uses... used it for security purposes. GIBBS: Did you ever see this old film "The Apartment" with Jack Lemmon? BRAUER: No, I don't believe so. TONY: Richter did. BRAUER: Probably. He loved those movies. CUT TO: INT. CORRIDOR - DAY BRAUER: But what does this have to do with... GIBBS: I assume the photo in your office is your wife. BRAUER: (IN GERMAN) Ja. GIBBS: Lovely woman BRAUER: (IN GERMAN) Dahnke. TONY: Older than Suzanne, of course. BRAUER: Are you implying that I had an affair with Ms. McNeil? GIBBS: Did you? BRAUER: No, Agent Gibbs, I did not. A man in my position cannot afford to risk losing everything in one of your ridiculous sexual harassment suits. GIBBS: There is a motive. TONY: Sure is. BRAUER: Yeah, I suppose someone in your profession would look at it that way. But why would I mrder Walter Richter who wasn't only a close associate, but my friend? GIBBS: I don't know. BRAUER: I wouldn't. CUT TO: INT. TEST FACILITY - DAY (SFX: DOOR BUZZER) (DOOR OPENS) RUTGER: (IN GERMAN) Who are these people, Stephen? BRAUER: (IN GERMAN) It's okay. TONY: Is that a bmb sniffer? BRAUER: We don't breed dogs. It's a Fernschaltung Sprengstoff Spuren Einheitour. TONY: It'll never take first in show at Westminster. GIBBS: Where is that ship? BRAUER: In here, Agent Gibbs.(DOOR OPENS) CUT TO: INT. CORRIDOR GIBBS: Is this where you use the explsives Suzanne makes? BRAUER: Ja. She makes exotic bmb to test our detecting devices. KATE: (V.O.) You did put a bmb on a Navy ship. CUT TO: INT. SQUAD ROOM - DAY KATE: Only the ship was a mock-up. You make bmb for tests. Didn't I tell you it was going to be something like this? SUZANNE: Yes, you did. Oh... but this is like reading someone else's life. Not mine. I don't remember any of it. KATE: You've got to give it time, Suzanne. SUZANNE: How much time do I have, Kate? Someone tried to kll me. Someone bashed in that poor man's head. Maybe if I go there... where I work... this B-F-F...it'll come back to me. KATE: I think you've been through enough for one day. SUZANNE: No! Please, Kate! If I can just sit at my desk and meet other people... living people. I just... I think I'll remember. Please? CUT TO: INT. TEST FACILITY (SFX: ROBOT MOVES B.G.) TONY: What's that? RUTGER: Chemical signatures we are detecting. Nitrates, mercury, glycols, cyclotrimethylenes. Object Four B contains a compound of cyclonite and penaerythrite tetranitrate. BRAUER: trror1st grade Semtex. TONY: Our NCIS explsive sniffer would tag that. BRAUER: Well, this test is just beginning. There are more sophisticated explsives that your equipment could not detect. TONY: What makes your sniffer better? RUTGER: Our software. Chemical signatures are compared to a databank of all known explsive compounds. When a critical composition is detected, it sets off an alarm. GIBBS: It's only as good as the software. BRAUER: Which is very good, very good. GIBBS: Then why are you worried about the Navy trials? BRAUER: Is that what Suzanne said? RUTGER: She would be pleased to see us fail. GIBBS: Why? RUTGER: She would win, of course. And Suzanna likes to win. BRAUER: It's her job to create explsives we cannot detect. GIBBS: So she held a few surprises back because she likes to win. BRAUER: In the beginning she had some limited successes, but Doctor Rutger has re-written the software to... (SFX: explsin B.G.) GIBBS: I had a hunting dog like that once. CUT TO: INT. ATRIUM - DAY GIBBS: Hey. Well? KATE: Reading her file didn't work. She thought being up in her office might help her remember. TONY: How'd she know where her office was? KATE: It's called a directory, Tony. BRAUER: Are you speaking of Ms. McNeil? GIBBS: Yeah, we are. Kate Todd, B-F-F CEO Stephen Brauer. KATE: Mister Brauer. BRAUER: What doesn't she remember? GIBBS: Well, why don't you ask her yourself? (SUZANNE WALKS INTO THE ROOM) CUT TO: INT. HOTEL ROOM - FLASHBACK BRAUER: (SHOUTS) Suzanne, stop! Stop, Suzanne! Stop! (SUZANNE FALLS TO THE GROUND) BRAUER: (SHOUTS IN GERMAN) You're not Liesl! (END FLASHBACK) CUT TO: INT. ATRIUM - DAY KATE: Anything? SUZANNE: No. BRAUER: Suzanne? SUZANNE: We know each other? BRAUER: Ja. I'm Stephen. Stephen. SUZANNE: I'm sorry, Mister Stephen. I... I don't remember you. BRAUER: Brauer. Stephen is my given name. SUZANNE: Sorry, Mister Brauer. GIBBS: Well, that's both good news and bad news. She can't tell you the formula to her explsive... but then again, she can't remember who buried her in Rock Creek Park. BRAUER: Were you buried? SUZANNE: Yes. BRAUER: And you don't remember anything? SUZANNE: Only that I like blueberries. BRAUER: Come, Suzanne. Sit with me. Perhaps if we talk.... (SUZANNE AND BRAUER WALK TO THE COUCHES) GIBBS: That son of a bitch is guilty as hell. (CAMERA ANGLE ON SUZANNE AND BRAUER) SUZANNE: You didn't have the guts to leave her but you buried me. BRAUER: You don't have amnesia. SUZANNE: Stephen, you'd better be careful. You don't want those agents to see you scared. (CAMERA ANGLE ON TONY) TONY: You remember when I stayed with you that time, when it didn't really go so well? GIBBS: Yeah, I remember, DiNozzo. TONY: Well, listen. I was younger then. Immature. A little unfocused. GIBBS: That was six months ago, Tony. (CAMERA ANGLE ON BRAUER) BRAUER: What happened in the office was an accident and you know that. You were... out of control. SUZANNE: I'm not now. BRAUER: No. You are quite calm. Suzanne, we can work this out. I'll give you anything. Anything. SUZANNE: A wedding ring? BRAUER: Ja. I'll divorce Brigitte. SUZANNE: The hell you will. You don't have the guts. You couldn't even come to the apartment to dump me. You sent Walther. BRAUER: You mrder Walther? (CAMERA ANGLE ON KATE) KATE: She said someone bashed the poor man's head in. How did she know that Richter's head was bashed in? I couldn't see his wound. Nobody told her how he died. She remembered. (CAMERA ANGLE ON SUZANNE) SUZANNE: No one dumps me, Stephen. My latest compound. It's so volatile; all you have to do is drop it. BRAUER: Then you'll die, too. SUZANNE: I've already been buried. BRAUER: (IN GERMAN) Sie hat eine bmb! KATE: Suzanne! Don't! SUZANNE: Sorry, Kate. (SFX: MASSIVE explsin FILLS THE SCREEN) CUT TO: EXT. BFF BUILDING - NIGHT TONY: We ought to do something, Boss.(SFX: SIREN B.G.) GIBBS: Have you ever made a mistake, Tony? TONY: According to you or me? GIBBS: You. TONY: Yeah. GIBBS: Could anyone make you feel better? TONY: No. GIBBS: My door's unlocked. TONY: I know. (MUSIC OVER ENDING CREDITS AND OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x10 - Left for d*ad"}	foreverdreaming
MUSIC IN: EXT. SPACE - DAY (CAMERA CLOSE ON MONITOR) MUSICAL BRIDGE TO: INT. OFFICE - DAY (SFX: KEYBOARDING B.G.) (KNOCK ON DOOR) (DOOR OPENS/ CLOSES) BEN: I've got ten minutes before Ainsley comes looking for me, so what's the big emergency? JEREMY: No one can know about this. BEN: Okay. JEREMY: We haven't got much time. I was repositioning from Cuba up towards Quebec, guess it ht a glitch over Virginia - Little Creek Naval Base... BEN: (SIGHS) God bless America. JEREMY: She's really cold. BENJAMIN: Really. Cold. JEREMY: Better than monitoring ship movements in the Atlantic. BEN: As long as we don't get caught. JEREMY: Uh-oh. A problem. BEN: Someone else must be there. Damn. Oh, no no no, sweetie. Nobody's looking. All right. All right. Where'd she go? (CAMERA ANGLE ON MONITOR/ CLOSE ON BEACH SCENE) JEREMY: What just happened? BEN: Punch in. (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "EYE SPY"(ELEVATOR DOORS SLIDE OPEN) TONY: (MUMBLES) Good morning, Kate. KATE: I assume that was good morning. TONY: (MUMBLES re DOUGHNUT) Want one? KATE: No. Thanks. TONY: (MUMBLES) Really good. KATE: Not worth the price. I like keeping my belt notched exactly where it is. TONY: What's that supposed to mean? KATE: What mean? TONY: The whole sort of raised eyebrows winky thing. KATE: Nothing, really. Just a...a nervous tic. TONY: I've weighed exactly the same since the day I graduated from college. Never up, never down. KATE: Certainly you would know. Do you weigh yourself a lot? TONY: I never weigh myself. KATE: I see. Huh. I don't pay that close attention to your body, Tony. TONY: Really? KATE: But Tony, If you're happy with the way you are, that's all that counts. (PHONE RINGS) GIBBS: (INTO PHONE) Gibbs. Mm-hmm. (GIBBS HANGS UP THE PHONE) GIBBS: We've got a mrder at Little Creek. Get Ducky.(GIBBS WALKS O.S.) KATE: Are you all right? TONY: Couldn't be better. MUSICAL BRIDGE TO: EXT. BEACH - DAY GIBBS: Who found the body? ROE: I did. An anonymous tip was called into Base Security saying someone was sab here. GIBBS: Victim been ID'd? ROE: Yes, Sir. Lieutenant Commander Thomas Egan. His wallet was found in the S-U-V. GIBBS: Kate, photos. KATE: Got it. TONY: Tag Heuer. You don't leave one of those around if you're robbing a guy. GIBBS: You know the Lieutenant Commander's assignment? ROE: Yes, Sir. He's attached as a technical advisor to Side-Scan, a civilian contractor on the base. Don't know any more. Their work's classified. GIBBS: Keep this under wraps, Master Chief. ROE: Yes, Sir. (SFX: WAVES B.G.) DUCKY: We have a rising tide. GIBBS: Okay. DiNozzo? TONY: Yo! GIBBS: You and me take measurements. We'll rebuild them later in the lab. Kate, more photos! KATE: Gotcha. GIBBS: Gerald, take notes. GERALD: I'm on it. GIBBS: Come on, move it! DUCKY: We've got to keep him dry. GIBBS: I've got the sign. TONY: I've got the farthest boulder. GIBBS: Head and feet! TONY: Fifteen point seven one. GIBBS: Eleven point three six meters. GERALD: Fifteen point seven one. Eleven point three six. Got them. KATE: His dive Knfe is missing. DUCKY: Yeah, you didn't see this coming, did you, my friend? (SFX: WAVE B.G.) GIBBS: Hey, watch out! Tide! (TONY DIVES ONTO THE SAND) DUCKY: (CHUCKLES) Well done, Tony. GIBBS: Bag him. DUCKY: I've got a spare suit in the van. KATE: Are you okay? What is it? GIBBS: Shrinkage.(KATE LAUGHS) MUSICAL BRIDGE TO: INT. BUILDING - DAY TYLER: I just can't believe Tom Egan is dad. GIBBS: When did you see him last? OVERMEYER: Early this morning. GIBBS: Where was the Commander going? TYLER: To conduct underwater tests on a piece of equipment. OVERMEYER: Did you find a device with his body? KATE: What kind of a device? OVERMEYER: It's a handheld sonar gn. I've got a wooden mockup of the prototype that we're missing. It uses sound echoes to create visual images. KATE: Like a sonogram. OVERMEYER: Yeah. TYLER: Not dissimilar. Earlier types are larger, have to be towed behind water craft. OVERMEYER: And our version can be carried by a diver. My company developed the concept; we brought it to the Navy. Commander Tyler was assigned as my liaison. TYLER: I brought in Tom. He was a sound-surveillance expert. We were evaluating it. GIBBS: For use in harbor surveillance. OVERMEYER: Yes. It's the only working prototype that we have. Its loss is just devastating to the military. GIBBS: And I bet to your company. Where's the Commander's desk? TYLER: There. GIBBS: We're seizing his computer, and anything else we find we need. You understand. CUT TO: INT. QUARTER DECK - DAY SPARKS: (INTO PHONE) Little Creek Quarter Deck. This is Seaman Apprentice Sparks speaking. How may I help you, Sir, Ma'am? Yes, Sir. TONY: Special Agent DiNozzo. SPARKS: They just can't stop messing with the uniforms, can they, Sir? TONY: You on duty this morning? SPARKS: Yes, Sir. TONY: You take the call about the attck on the beach? SPARKS: Yes, Sir. Call came in at zero nine thirty two. TONY: Get a name? SPARKS: No, Sir. But the voice was male. Sounded real nervous. And when I started asking questions, he just hung up. TONY: You have caller I.D. SPARKS: Yes, Sir. But the call that came in this morning was blocked. TONY: Well, it shouldn't be too hard for NCIS to trace that. SPARKS: I'd write a letter, Sir. MUSICAL BRIDGE TO: INT. OFFICE - DAY TONY: Come on! Come on, Magee! You said you could do this. MAGEE: I didn't say it was going to be easy. TONY: Actually, that's exactly what you said only on the phone you ended it with a Sir. MAGEE: Well, that's when I thought you were talking about going through the proper channels. TONY: Proper channels have too many bags. MAGEE: Well, lucky for you Little Creek has its own central exchange. Otherwise the proper channels would be our only option. TONY: If I'm so lucky, then why haven't you given me the number yet? MAGEE: The exchange handles all incoming calls to the base. Do you have any idea how many calls came into Little Creek at zero nine thirty two? TONY: You know what my dad always said about excuses? MAGEE: Yeah, they're like armpits. Everyone has them and they all stink. TONY: Actually, he used a different part of the anatomy, but you got the main idea. So whatever happened between you and Abby? MAGEE: Our paths still cross on occasion. TONY: Really? I guess the tat on the old caboose did the trick. MAGEE: Among other things. TONY: You don't say. Did you see any art on her caboose? MAGEE: You're right, I don't say. TONY: I'll take that as a no. MAGEE: Ah, found it. You see, the new S-S-seven data circuits - they block display of the number. But the calling party number message is still carried on the line. TONY: I don't know what you just said. I don't care what you just said. Just give me the number. Why is there an asterisk? MAGEE: I'm not sure. (bat) Sir? TONY: That wasn't an "at it, Sir," look. That was a "you'd better find out why," look. MAGEE: Oh. Sorry. TONY: Rookie mistakes. MUSICAL BRIDGE TO: EXT. EGAN RESIDENCE - DAY (CAR BRAKES TO A STOP) KATE: Egan and his wife have been married for nine years. They met when they were stationed in San Diego. GIBBS: Any kids? KATE: No. Oh, my god! It's their anniversary next week. It looks like the Navy was pretty good about stationing them at the same bases. GIBBS: How long have they been here in Little Creek? KATE: Egan was transferred here in March and his wife had to finish assignment in Panama City, Florida. Then followed four months later. GIBBS: No matter how many times I do this, it never gets any easier. KATE: We should have had DiNozzo handle this interview. (SFX: DOOR BELL RINGS) KATE: Just kidding! (DOOR OPENS) GIBBS: Lieutenant Egan? NCIS. CUT TO: INT. LIVING ROOM - DAY GIBBS: I'm aware there's probably a better time to be doing all this. KATE: Where were you coming home from, Lieutenant? EGAN: Camp Lejeune for the weekend. It was a human resources seminar. When I got home the Base Commander and the Chaplain were here and I knew... GIBBS: When was the last time you spoke to your husband? EGAN: Last night. GIBBS: What time? EGAN: (SOBS) I don't know. GIBBS: Yeah, but if you could try to remember. EGAN: (CRIES) I don't know! GIBBS: Lieutenant, I know this is hard. EGAN: (CRIES) Sorry! Around ten...before I went to bed. KATE: Did you know that he was going diving today? EGAN: But he went diving many times during the week. He was a SEAL. He was decorated. GIBBS: Did he tell you what he was working on? EGAN: No, Tom was very strict about need-to-know. He didn't discuss his work with anyone. Not even me. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY DUCKY: Would you do the honors, please, Gerald? GERALD: Sure thing. DUCKY: (bat) What? GERALD: It moved. DUCKY: (CHUCKLES) I don't think so. GERALD: It moved, Doc. DUCKY: Remind me to check our inventory of alcohol swab. (LONG bat) He certainly was dad on the beach. (DUCKY UNZIPS THE BODY BAG) DUCKY: Ooh! CUT TO: EXT. BASE DOCK - DAY GIBBS: What do you think, Kate? Espionage?(TRUCK DOOR CLOSES) KATE: A Navy specialist is mrder and the classified device he has with him is missing. It looks that way. GIBBS: Yeah. KATE: Oh, my god. TONY: Don't even, okay? KATE: Did I say anything? TONY: You were. I know you were. KATE: It's a touch small, but other than that it's fine. And the bonus, no belt. GIBBS: DiNozzo. The anonymous tip? TONY: It came from a restricted phone. Area code seven zero three. KATE: Langley, Virginia. GIBBS: CIA. TONY: Wow, huh? GIBBS: Yeah. (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - DAY KATE: It's okay. I got it, Tony. Don't you worry. Wouldn't want to disturb your lunch. TONY: You got me thinking, Kate. Maybe I should improve my diet. KATE: When are you going to start? TONY: What do you call this? KATE: Bad things masquerading as something good for you? TONY: This is a nutrition bar. It says so on the label. KATE: Did you read the label? The little one with the ingredients not just the big one with the pretty colors? TONY: Oh, sarcasm is so not healthy, Kate. KATE: Neither is that. Let's see... we've got here, (READS) High fructose corn syrup - basically sugar; uh... high maltose corn syrup - another sugar; sugar - sugar; fractionated palm kernel oil. That sounds yummy! And contains less than two percent natural flavor. That would make it ninety eight percent artificial flavor. TONY: What are you saying? ABBY: So I hear Egan's computer is waiting to get up close and personal with me. KATE: Be gentle. I'm sure Tony will be more than happy to lug this downstairs for you. He's feeling healthy today. TONY: No problem. ABBY: Thanks, Tony. Where's Gibbs? KATE: With Director Morrow. He's trying to get a meeting with the CIA. ABBY: Ooh. Why? KATE: That's where the anonymous phone call came from. ABBY: Langley is like two hundred miles from Little Creek. Doesn't make any sense. TONY: Especially considering Ducky established time of death as approximately nine thirty. And the tip was phoned in at nine thirty two. ABBY: It's impossible. GIBBS: It isn't if someone from the CIA was watching on a high-def satellite. MUSICAL BRIDGE TO: INT. ROBER'S OFFICE - DAY ROBER: (V.O.) You're accusing the Agency of spying on a U.S. Naval Station. GIBBS: Do you have a better explanation? ROBER: It didn't happen, Agent Gibbs. GIBBS: I have a dad Lieutenant Commander and missing classified hardware and a phone call that originated from this building right after the mrder. ROBER: I'm not denying we have the capability. But you know as well as I do that it would be a violation of CIA mandate to operate domestically. GIBBS: Right. You never do anything illegal? We have the same Uncle writing our paychecks. We do what we do to get the job done. ROBER: I appreciate the sentiment, Agent Gibbs. GIBBS: I don't have a need-to-know to know why you have a satellite pointed at Little Creek. I have a mrder to solve. I could use your help. ROBER: There's nothing I can do to help you, Agent Gibbs. If you'll excuse me. CUT TO: INT. NCIS LAB - DAY (MUSIC B.G.) ABBY: (INTO PHONE) You're on the air! GIBBS: (V.O./FILTERED) Hey, Ab. ABBY: (INTO PHONE) Gibbs, how did we do with the moles?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Spooks, Abby. Spooks. (SCENE CUT) ABBY: (INTO PHONE) I can never get that straight. (SCENE CUT) TONY: (INTO PHONE) Are you still in touch with the old NASA boyfriend? ABBY: (V.O./FILTERED) He wasn't a boyfriend. (SCENE CUT) ABBY: (INTO PHONE) He was a boy-toy. And yes, we I-M almost every day. (SCENE CUT) GIBBS: (INTO PHONE) You do? (SCENE CUT) ABBY: (INTO PHONE) Oh yeah. (SCENE CUT) GIBBS: (INTO PHONE) That's good, right? (SCENE CUT) ABBY: (INTO PHONE) It's very good. Why? (END TELEPHONE INTERCUTS) CUT TO: INT. MTAC ROOM - DAY ASHTON KUGEL: (ON MONITOR) Greetings from NASA, NCIS. ABBY: Whoa, Ashton, that was so Star Trek. ASHTON KUGEL: (ON MONITOR) Sorry I'm late. I had a cluster of frozen reactor coolant heading for the flight path of an Atlas lift-off. I had to delay the launch. They were not happy about it. I am, however, very happy to see you, Abby, and to help your NCIS crime-fighting colleagues. ABBY: Ah, you're the best, Ashton! ASHTON KUGEL: (ON MONITOR) Oh, you are, Ab. ABBY: Thank you. ASHTON KUGEL: (ON MONITOR) We really should talk. ABBY: We really should talk. GIBBS: Special Agent Gibbs here. ASHTON KUGEL: (ON MONITOR) Of course. GIBBS: I appreciate your help. We're looking for SAT activity yesterday about zero nine thirty Eastern Standard. ASHTON KUGEL: (ON MONITOR) Roger that. Geostationary? ABBY: Asynchronous. ASHTON KUGEL: (ON MONITOR) Multi-positional. ABBY: Very. ASHTON KUGEL: (ON MONITOR) Landstat seven? ABBY: Think CIA. ASHTON KUGEL: (ON MONITOR) Ah, K-H-twelve. ABBY: Improved crystals. ASHTON KUGEL: (ON MONITOR) Thermal infrared. ABBY: It gets hot down here. ASHTON KUGEL: (ON MONITOR) Target area? ABBY: Virginia Coast. ASHTON KUGEL: (ON MONITOR) We have entry. ABBY: Oh, you're so good, Ashton. GIBBS: Any idea what department it came from? ASHTON KUGEL: Oh, pretty sophisticated blocking system on the K-H-twelve. I'm afraid that task is a bit more complicated. Complicated, but not impossible. They overlooked the same technology on the Milstar satellite relays and...that particular satellite is controlled from building thirty-five-C, office four-oh-nine. ABBY: Bravo, Ashton!(END TELEPHONE CONVERSATION) MUSICAL BRIDGE TO: INT. NCIS SEDAN - NIGHT KATE: We're lucky Abby could get in the system and pull his name off the office number. There's not much on him. GIBBS: CIA's not big on bios. KATE: Jeremy Wirth....twenty-three... current address, thirty-five B Maple, Georgetown. Graduated M-I-T at twenty. GIBBS: I'm impressed. KATE: Been with the Agency six months... working as a satellite analyst. That's all we got. GIBBS: Why would they use someone so green on such a covert assignment? KATE: Too bad we don't have a photo. GIBBS: Don't need one. He'll fit the profile. KATE: I think geeky, right? GIBBS: Well yeah, Kate, something like that. KATE: Ha! Have you ever seen Robert Redford in Three Days of the Condor? GIBBS: Yes. KATE: That's a geek I could get covert with. GIBBS: Kate, I would not get my hopes up. Check it out. (CHUCKLES) (CAR DOOR OPENS/CLOSES) CUT TO: EXT. STREET - NIGHT KATE: Jeremy? JEREMY: Do I know you? KATE: My name's Kate. Kate Todd. Can I talk to you? JEREMY: About what? What's NCIS? KATE: Naval Criminal Investigative Service. JEREMY: I've got nothing to talk to you about. GIBBS: I'm Special Agent Gibbs. Same agency you haven't heard of before. Only I don't take it personally anymore. JEREMY: I've got to go inside. KATE: We know where you work, Jeremy. We suspect you're the one that called Little Creek about the sab. You need to tell us what you saw. JEREMY: I can't say anything. GIBBS: Did the Assistant Director Rober have a little chat with you? JEREMY: He put me on administrative leave. I'm under investigation. KATE: Rober didn't know. GIBBS: No. (TO JEREMY) You were using the satellite without their knowledge. Why were you watching Lieutenant Commander Egan? JEREMY: Who? KATE: The Naval officer who was mrder. GIBBS: You play ball with me, I can square it with Rober. JEREMY: You can do that? KATE: With the exception of finding a decent barber, Gibbs can do pretty much anything he says he can. JEREMY: I was watching...not watching... I wasn't watching the guy in the wetsuit. I was watching something else and happened to notice activity at the edge of the screen. GIBBS: What kind of something else would this be? JEREMY: A person. GIBBS: Female person? JEREMY: Yeah. GIBBS: Kind of a babe female person? JEREMY: Really hot. I stumbled across her by accident. She was polar tanning. KATE: Nude winter sunbathing. GIBBS: Must get cold. JEREMY: Oh, she was Sir. KATE: And you think that's an appropriate use for a billion dollar satellite, Jeremy? JEREMY: I got a little off track with my priorities. GIBBS: That happens with hot babes sometimes. So you didn't see who attcked Commander Egan? JEREMY: When I tried to go close, the image pixilated. All I saw was him go down. Whoever it was ran off before I could adjust the picture. GIBBS: And that's it? JEREMY: If I had access to the Agency's computer, I could show you exactly what I saw. All satellite transmissions are recorded on a hard drive at Langley. CUT TO: INT. ROBER'S OFFICE ROBER: What the hell are you up to, Gibbs?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) I want the recording of a satellite transmission. (SCENE CUT) ROBER: (INTO PHONE) I don't know what you're talking about. (SCENE CUT) GIBBS: (INTO PHONE) Well, let me put Mister Wirth on. He can explain it to you. JEREMY: (WHISPERS) Oh no, no! No! GIBBS: (INTO PHONE) Your analyst... (SCENE CUT) GIBBS: (V.O./FILTERED) ....was spying on a U.S. Naval base. ROBER: (INTO PHONE) You have Wirth? (SCENE CUT) GIBBS: (INTO PHONE) I'm not sure what Congressional oversight committee he's going to be spilling his guts to. I mean, there are so many... (SCENE CUT) GIBBS: (V.O./FILTERED)....to choose from these days. ROBER: (INTO PHONE) How do we handle this? (SCENE CUT) GIBBS: (INTO PHONE) We'll be there in fifteen minutes. (END TELEPHONE INTERCUTS) MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY DUCKY: Commander, based on the width and the jagged lower edge of the entry wound... it appears you were sab with your own Knfe. The wound is consistent with a serrated, titanium beta alloy Knfe missing from your sheath. Let's see what we've got here. Oh, seven inches. Well, Gerald, what have we learned form this? GERALD: Seven inches. It was a deep thrust. Most of the blade. DUCKY: And? GERALD: And from the left to right angle. The assailant was most likely left handed. DUCKY: So we've vastly limited the potential number of suspects. Only nine percent of the world's population is left-handed. Interestingly, that percentage has remained the same since prehistoric times. Archaeologists have been able to determine this by examining cave paintings more than ten thousand years old. GERALD: Don't you think we should notify Gibbs? DUCKY: In due time. Curiously enough, the Yanomami tribe in the Amazon are twenty three percent left-handed. MUSICAL BRIDGE TO: INT. NCIS LAB - DAY (MUSIC B.G.) (DOOR OPENS/ CLOSES) TONY: Find anything? ABBY: Commander Egan's files were password protected, it took me a while to get in. (SFX: KEYBOARDING B.G.) ABBY: What, are you getting in shape? TONY: Yeah, want to feel how hard my forearm is? ABBY: No, thanks. Hey, Gibbs. You want to feel Tony's forearm? GIBBS: I'll pass. Copy of the CIA satellite transmission. I want to see if you can enhance the image. KATE: Find anything in Egan's computer? ABBY: He seems hinky about the sonar device's reliability. His notes suggest that tests may have been altered. TONY: Think Egan was klled because he was going to blow the whistle on the project? GIBBS: Maybe. (SFX: COMPUTER BEEP TONES) TONY: (V.O.) Oh, I like this part. MUSICAL BRIDGE TO: EXT. BEACH - DAY (MUSIC OVER ACTION/NAVAL PERSONNEL SEARCH THE BEACH) OVERMEYER: Do you think they'll find it? TYLER: I don't know. (MUSIC OUT) MUSIC IN: INT. NCIS LAB - DAY ABBY: This is the only time the assailant is on the screen. Now watch what happens when I try to go in. The closer I get to the figure, the more the image distorts. GIBBS: That's it? ABBY: Sorry, Gibbs. KATE: We can't make an I.D. out of that. TONY: Maybe we can find the polar chick. KATE: Tony's right. The beach is on a Naval base. It's a restricted area. Odds are she works at Little Creek. TONY: Do you want me to track her down, boss? KATE: Why am I not surprised? Want me to handle it? At least I won't drool. GIBBS: No. No, DiNozzo took a wave for the team. TONY: Thanks, boss. Hmm... look at the muscle tone, would you? Definition on those abs. The lady definitely works out a lot. ABBY: Maybe at the base gym? TONY: Ah, that makes sense. KATE: Don't hurt yourself. There's going to be a lot of dangerous equipment you're not familiar with. TONY: That's cute, Kate. Print me a copy, Abs? GIBBS: Face only, Abby. Kate, you stay with her. Go over everything in Egan's files. Find out everything you can about this device. DUCKY: Oh, Jethro! Jethro, while I was examining our victim, I was telling Gerald about the Yanomami tribe. He found it fascinating. GIBBS: This would affect our case somehow? DUCKY: Of course! They were twenty three percent left handed. Lieutenant Commander Egan's kller was left handed. GIBBS: Anything else? DUCKY: He never made it into the ocean. That good fortune allowed me to find traces of someone else's DNA on his body. The DNA of a female. GIBBS: That mean what I think it means, Duck? (SFX: DOOR BELL RINGS) MUSICAL BRIDGE TO: INT. EGAN LIVING ROOM - DAY (DOOR OPENS) GIBBS: Lieutenant Egan. If this is a bad time... EGAN: Uh...I have to meet with the funeral director. GIBBS: I have a few questions. Or I could come back. EGAN: Uh, no. This is fine. (PASSAGE OF TIME) GIBBS: Did your husband have doubts about the project he was working on? EGAN: I don't know. He was pretty distant recently. GIBBS: Anything else bothering him? EGAN: Not that I know of. He hated paying bills. Always gave him a stomach ache GIBBS: Do you know much about the people at Side-Scan? EGAN: Met them at a Christmas party. Couple of other times. He kept it pretty separate. GIBBS: Because of the confidential nature of the project? EGAN: I guess. GIBBS: He spent a lot of time at work, didn't he? EGAN: Not in the beginning. GIBBS: But that changed. EGAN: In the last few months. He always said all he wanted was a simple pine box. But I can't do that. (DOOR OPENS) GIBBS: I think that he'll be good with whatever you pick out, Lieutenant. (DOOR CLOSES) CUT TO: INT. BASE GYM - DAY (WOMAN WORKS OUT WITH WEIGHTS B.G.) WOMAN: Yeah? TONY: Hey, sorry. I thought you were someone else. Look, you weren't sunbathing nude on the beach yesterday, were you? WOMAN: Nice try. TONY: Didn't think so. (TO GYM MANAGER) Oh, hey there. How are you doing? GYM MANAGER: Gym's for base personnel only. TONY: Well, I wasn't really planning on working out. GYM MANAGER: Obviously. TONY: Maybe you can help me. Have you seen her? GYM MANAGER: Not very clear. TONY: It's a really long lens. GYM MANAGER: It could be Gina. TONY: Gina? GYM MANAGER: Petty Officer Second. Comes in here everyday about noon. TONY: I'll wait. (SFX: WEIGHTS B.G.) CUT TO: EXT. PIER - DAY KATE: You haven't found it. GIBBS: Not yet. TYLER: You met me here to get me away from Overmeyer. GIBBS: I've got questions. TYLER: All right. GIBBS: What was Commander Egan supposed to be doing that morning? TYLER: Underwater test of the device. GIBBS: Meaning? TYLER: We seeded the ocean floor with targets. GIBBS: Dummy bmb. TYLER: He was going out to locate them. GIBBS: He had reservations about the project, didn't he? TYLER: Not that I know of. Is something wrong, Agent Gibbs? GIBBS: I don't know. Sometimes you think you have a bead on someone. It turns out bogus. It's upsetting. TYLER: The point is? GIBBS: I didn't take you for a party line type, Commander. TYLER: Commander Egan wasn't sure the range was as good as promised. GIBBS: What if Commander Egan's test turned up negative? TYLER: The Navy wouldn't pick up Side-Scan's contract. GIBBS: And Overmeyer? TYLER: He'd lose a fortune. GIBBS: I'm gonna press my luck here. TYLER: Okay. GIBBS: What if the prototype isn't found? TYLER: Side-Scan will probably be granted an extension, which would buy time to correct any problems. But there aren't any serious flaws, Agent Gibbs. GIBBS: Would you submit to a voluntary DNA swab? I'd like to eliminate you as Lieutenant Commander Egan's lover. TYLER: There wouldn't be much point. Tom and I had been seeing each other for months. Anything else you want to press? GIBBS: No. TYLER: I gotta get back. CUT TO: INT. BASE GYM - DAY (TONY LIFTS WEIGHTS B.G.) TONY: Gina? GINA: Yes? TONY: Anthony DiNozzo, NCIS. GINA: What do you want? TONY: Ah I just want to ask you a few questions. GINA: I'm busy. TONY: Were you sunbathing yesterday on the base beach? GINA: You were watching me? TONY: No. GINA: Then how did you know I was there? TONY: I'm not at liberty to discuss the actual surveillance activity. GINA: Please leave me alone. TONY: Let me get my I.D. I can appreciate how it must look. GINA: Okay, tell me. KATE: (V.O.) I still can't believe Lauren Tyler admitted... CUT TO: INT. BUILDING - DAY KATE: ...to having an affair with Egan. GIBBS: She's smart. When I asked her for a DNA sample, she knew I had her. Always better to volunteer information than cover it up. OVERMEYER: What are your people doing?! GIBBS: Seizing your files. KATE: It's part of our investigation into Commander Egan's death. OVERMEYER: You think he was klled for the prototype? GIBBS: I think he had concerns about performance. OVERMEYER: Well, you're wrong. GIBBS: I try so hard not to be wrong, don't I, Kate? KATE: You're very conscientious in that regard, Gibbs. OVERMEYER: All right, we might have had a glitch or two, but nothing that wouldn't have been corrected before production. GIBBS: See, you I did figure for the party line guy. OVERMEYER: What's that supposed to mean? GIBBS: Why was only one prototype made? OVERMEYER: I funded all the R and D personally. I don't have pockets that deep. This loss is just devastating. GIBBS: It also buys you time. OVERMEYER: Are you insinuating I had something to do with Tom Egan's death? GIBBS: I try so hard not to insinuate, don't I, Kate. KATE: You rarely insinuate, Gibbs. GIBBS: Yeah. All I'm doing now is taking your records. OVERMEYER: I'm calling my legal counsel. GIBBS: I would bet that he will insinuate plenty. Here. Sign this. OVERMEYER: What's that for? GIBBS: It's a receipt for your files. All of your files. (HELICOPTER FX B.G.) CUT TO: EXT. SIDE-SCAN BUILDING - DAY KATE: We know the kller is left handed. (V.O.) Jonathan Overmeyer is left handed. (ON CAMERA) What about Commander Tyler?(INTERCUT FLASHBACK SCENE) GIBBS: She wears her watch on her left hand like most right-handed people do. Service file will verify.(INTERCUT FLASHBACK SCENE) KATE: They could be in it together. GIBBS: They could. (SFX: CELL PHONE RINGS) GIBBS: (INTO PHONE) Gibbs. TONY: (V.O./FILTERED) I found her, boss... (GIBBS HANGS UP GIBBS: DiNozzo found our polar bear. PHONE) CUT TO: INT. GYM - DAY GIBBS: You were on the beach yesterday? GINA: Yes, Sir. I know it's against regs to sunbathe naked, but I never thought I'd be caught in winter. I don't know what came over me. I just really hate tan lines. Don't you? GIBBS: Sometimes I lay awake at night thinking about that. Did you see anybody else there? GINA: Well, that's why I left. I heard a vehicle. Saw this guy getting out in a wetsuit. I covered up and left. KATE: Was he alone? GINA: I thought so at first. But as I was walking back to my car, I heard voices and glanced back. He was arguing with someone else. GIBBS: Can you describe him? GINA: Her. All I can tell you is that she was military. (MUSIC OUT) FADE IN: INT. NCIS SQUAD ROOM - DAY KATE: We know the kller was left-handed which eliminates Commander Tyler. Her service file confirms she's a righty. TONY: We also know the kller is a woman. Unless Overmeyer went "Norman Bates" on the guy. Actually, when you think about it, the M.O.'s match. GIBBS: DiNozzo. KATE: What did you do? TONY: So basically we eliminated our two best suspects. Neither is a left-handed woman in the military. GIBBS: It appears so, yeah. KATE: Damn! And they were good suspects. GIBBS: Yeah, maybe too good. KATE: What do you mean? GIBBS: We got carried away with the missing prototype. Espionage and whistle blwing is a lot more intriguing than someone who's just really pissed off. KATE: Egan's wife? TONY: Her husband was diving on someone else's reef. Dipping the fin in the company pool. Pinging the wrong pong. KATE: Egan's wife didn't get back from the seminar until after the mrder. GIBBS: That's what she said. KATE: (V.O.) She's a military officer.(INTERCUT FLASHBACK SCENE) GIBBS: Yes, she is. And she plays golf. (V.O.) Left-handed.(INTERCUT FLASHBACK SCENE) KATE: W-Wait. You could see that the clubs were left-handed with just a passing glance? GIBBS: My second wife played golf left-handed. KATE: So? TONY: When someone tries to split your skull open with a seven iron, it's not a club you soon forget. GIBBS: There was an edge in the Lieutenant's voice when she said things had changed the last few months. TONY: If she knew she was cheating on her... KATE: Wait, just because she golfs left-handed doesn't mean she actually is left-handed. I golf left-handed but I bat and I throw right-handed. TONY: So you go both ways? KATE: All I'm saying is that we don't actually have anything on her. We don't even know if she knew that her husband was having an affair. GIBBS: Sure. KATE: So it's just a hunch. TONY: Yeah. KATE: There's no proof. GIBBS: No.(SFX: DOOR BELL RINGS B.G.) CUT TO: INT. EGAN LIVING ROOM (DOOR OPENS) EGAN: Hello. GIBBS: Lieutenant Egan. EGAN: Please come on in. GIBBS: Thank you. (DOOR CLOSES) GIBBS: We have a dilemma to share with you. EGAN: Dilemma. What's the problem? GIBBS: We think that your husband was klled because he was about to expose flaws in the Side-Scan prototype he was developing. EGAN: I see. KATE: But we can't prove it. GIBBS: There was only one prototype made and that was taken from the crime scene. KATE: We've conducted a search, but so far no luck. We'll have to find it to have a chance of building a case against the suspect. EGAN: You have a suspect? KATE: A witness saw a woman arguing with your husband on the beach, just before he was sab. GIBBS: We think it was the commanding officer, Lauren Tyler. KATE: There's no easy way to ask this, but did you know your husband was having an affair with her? EGAN: He was having an affair? KATE: It looks that way. GIBBS: Can you confirm our suspicion that your husband was having doubts about this project? EGAN: I'm afraid not. He never mentioned it. GIBBS: Okay. Thank you for your time. Sorry to have to drag you through this. EGAN: What do you think happened to him? Why was he klled? GIBBS: We think that he told Commander Tyler. And that when they both confronted Jonathan Overmeyer, he offered them money to keep them silent. EGAN: And Tom refused. KATE: Yes. EGAN: He would never take money. KATE: But Tyler went along. We believe they klled him, and had to hide the prototype fast. GIBBS: We need to find it. If we don't, we don't have much of a case. It's the only conclusive proof we have of defects. CUT TO: EXT. HOUSE - DAY (DOOR CLOSES) KATE: You think she took the bait? GIBBS: Pretty hard to pass up getting away with mrder and framing your husband's lover. KATE: Well, if she's guilty, she's a pretty good actress. GIBBS: Hey, what about yourself, kid? KATE: This thing is so creepy. GIBBS: Why? You still don't believe she knew about her husband's affair? KATE: The wife's always the last one to know, Gibbs. GIBBS: Don't believe it. KATE: I hope you're right. Otherwise we were pretty cold to a woman who just lost her husband. GIBBS: Well, let's find out.(SFX: TELEPHONE BEEP TONES) ABBY: (V.O./FILTERED) Hello? GIBBS: (INTO PHONE) Abs? Call your boy.(DOOR CLOSES) (SFX: CAR ENGINE STARTS) MUSICAL BRIDGE TO: INT. MTAC ROOM - DAY ABBY: So how long do you get to use the bird?(BEGIN INTERCUTS) (SCENE CUT) ASHTON KUGEL: (ON MONITOR) Don't worry, Abs. I'm borrowing it from G-Nex Corp and they owe me big time. It's asynchronous, multi-positional and has thermal infrared. It's perfect for your purpose. ABBY: And they just let you have it? ASHTON KUGEL: (ON MONITOR) Technically, it's down for maintenance. (INTERCUT SCENE OF EGAN LEAVING HER HOUSE) ASHTON KUGEL: (ON MONITOR) Are you going to the lecture next week on Apogee Deterioration of the Amstat Five Eleven? ABBY: Oh, been there, done that. ASHTON KUGEL: (ON MONITOR) We have movement. MUSICAL BRIDGE TO: INT. CAR - PARKED ABBY: (V.O./FILTERED) Gibbs, she's on the move. I'll redirect the satellite to you. (MUSIC OVER ACTION/EGAN CLIMBS INTO HER CAR AND DRIVES AWAY) CUT TO: INT. MTAC ROOM ABBY: (V.O.) Are you getting this? CUT TO: INT. CAR - DAY GIBBS: Yeah. TONY: Let's roll. GIBBS: Hang on. Let's get some separation. CUT TO: INT. MTAC ROOM ABBY: She's leaving the base. She's turning onto (V.O./FILTERED) Highway Two Sixty Four going south. CUT TO: INT. CAR - PARKED GIBBS: Okay, Lieutenant. Let's see where you're going. (MUSIC OVER ACTION DRIVING SCENES) TONY: I hope she's not just popping out for a Big Mac. CUT TO: INT. MTAC ABBY: Where are you guys?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (V.O.) Hanging back. A mile behind her. (SCENE CUT) TONY: You know, we really should have our own satellite for surveillance. GIBBS: Yeah, okay, Tony. I'll take that up with the Director. Three hours of satellite time equals your yearly salary. (SCENE CUT) ABBY: She's turning. (SCENE CUT) KATE: We see it. (SFX: STATIC ON THE MONITOR) GIBBS: Abby? (SCENE CUT) ABBY: I think Houston has a problem. Ash what's going on? ASHTON KUGEL: (ON MONITOR) Lost the signal. Give me a second. (INTERCUT DRIVING SCENES) ASHTON KUGEL: (ON MONITOR) The low-gain antenna has been intermittent. (V.O.) That's why it's off-line for maintenance. (SCENE CUT) TONY: We're losing her. (SCENE CUT) ABBY: You're the man, Ash. (SCENE CUT) GIBBS: Ash is the man if he gets our target back. (MUSIC OVER ACTION/CAR DRIVING/ASHTON WORKING AT THE KEYBOARD) ASHTON KUGEL: (ON MONITOR) I'm looking for it. (SCENE CUT) TONY: Take that right there. GIBBS: We gotta take it. She did. KATE: Then what, Abby? (SCENE CUT) ASHTON KUGEL: (ON MONITOR) All right, I think that's it. ABBY: You think? (SCENE CUT) KATE: It better be. (MUSIC OVER ACTION DRIVING SCENES) MUSICAL BRIDGE TO: EXT. WOODS - NIGHT (CAR BRAKES TO A STOP) (CAR DOOR OPENS/CLOSES) (MUSIC OVER ACTION/EGAN WALKS TO THE CLEARING AND UNCOVERS THE PROTOTYPE) GIBBS: (V.O.) Do you need a hand? MUSICAL BRIDGE TO: INT. NCIS SQUAD ROOM - DAY GIBBS: You're late. TONY: Sorry, I was at the dry cleaners. GIBBS: So? TONY: For Ducky. GIBBS: So? TONY: It was work related. KATE: Your phone has been ringing off the hook. It's driving him crazy. TONY: Well, she is driving me crazy. KATE: She? TONY: Apparently Miss "I Don't Like Tan Lines" has found something she does like. Me. KATE: And why is that a problem? TONY: Well, let's just say that she's a lot more appealing from a distance. A geosynchronist distance. KATE: She didn't look so bad to me. TONY: It's not that. She's just not my type. GIBBS: Really? Female hard body likes to take her clothes off not your type? TONY: I guess not. KATE: Well why don't you just tell her that, then? TONY: I am. KATE: By not answering her calls? TONY: She'll get the message. (PHONE RINGS) KATE: Apparently not. GIBBS: Well, she'd better get the message soon or you're going to be getting one on a pink slip. TONY: You can't fre me for something I have no control over! KATE: Talk to her. TONY: She'll get the message! KATE: You know, I'll bet this is why number two came after you with a nine iron, wasn't it? You just refused to sit down and talk things through. GIBBS: Actually, that wasn't it at all. KATE: Oh. So what was it then? GIBBS: Seven iron. (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x11 - Eye Spy"}	foreverdreaming
MUSIC IN: EXT. ALLEY - NIGHT (MUSIC OVER ACTION) (TRUCK BRAKES TO A STOP) (SFX: DUMPSTER LID OPENS) (DRIVER LIFTS ITEMS/LEG FROM THE DUMPSTER) (DRIVER GASPS) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "MY OTHER LEFT FOOT" TONY: Hey, how was your date last night? KATE: How did you know I had a date last night? TONY: You talk very loud when you're on the phone. I've been meaning to say something. KATE: You mean you eavesdropped. TONY: Guess it didn't go too well, huh? KATE: He had to cancel. TONY: What excuse did he give? KATE: Surgery. TONY: Hey, that's a good one! I've got to remember that. What was wrong with him? KATE: He didn't have surgery, Tony, he performed it. ABBY: Hey, how was your big date last night? (KATE WALKS O.S.) ABBY: What'd I say? TONY: Date never happened. ABBY: Oh. What excuse did he give? TONY: Surgery. ABBY: That's a good one! GIBBS: Grab your stuff. KATE: Where are we going? GIBBS: West Virginia. TONY: Almost heaven. "Take me home, country road." Old John Denver song. I'm going to grab my gear. GIBBS: Clarksburg. KATE: What's in Clarksburg? GIBBS: Junk dealer... stumbled onto a leg. KATE: We're driving to West Virginia to look at a leg? GIBBS: It belongs to a Marine. TONY: How can you tell from a leg? MUSICAL BRIDGE TO: INT. ALLEY - DAY GIBBS: Gibbs. NCIS. DAWSON: How do. GIBBS: Is this how you found the leg? DAWSON: Yes, Sir. Mister Green found it in that dumpster. When he realized what he was holding, he tossed it to get rid of it. Landed here. Kind of funny, ain't it? GIBBS: What? DAWSON: How it landed. Like it was climbing the stairs. GIBBS: You think finding the severed leg of a Marine is funny? DAWSON: No, Sir. No, Sir, I don't. GIBBS: Find the rest of the body? DAWSON: Not yet. Local Chief of Police has his boys checking all the dumpsters and the town garbage pit. Well, I'll leave you all to it. GIBBS: Tony, laser and sketch. TONY: Got it. GIBBS: Kate, take photos. KATE: Yeah. GIBBS: What have we got here, Duck, other than the obvious? DUCKY: Well, with the absence of hemorrhagic tissue at the point of injury, I'd say the limb was severed post mortem. GIBBS: Time of death? DUCKY: From a leg?! I'll tell you what, Gibbs. You find me a liver in that leg, and I'll estimate you a time of death. KATE: What's that wedged in the sole? DUCKY: From a small seed a mighty trunk may grow. There's not much more for me to do here. I saw a great antique store around the corner. Give me a shout if you need me. GIBBS: (SHOUTS) Ducky! (bat) I need you here. DUCKY: Jethro, I refuse to speculate on the time of death of the Marine missing that leg. However, I will tell you that the limb itself has been dad more than... no, less than twenty four hours. GIBBS: I'll shout if I need you. (GIBBS WALKS TO THE TRUCK) GIBBS: Did you find the boot? GREEN: I was just looking for junk. Stuff people throw out. GIBBS: Like a boot? GREEN: Yep. No law against taking stuff folks thrown out. Why are you puttin' on rubber gloves? GIBBS: We're going to need your prints. GREEN: For what? GIBBS: To separate them from those we find on the leg. GREEN: You can take fingerprints off a leg? TONY: I don't get the whole tattoo thing. KATE: I'll add that to the ever-growing list of things you don't get. TONY: Being stuck with a needle thousands of times for a piece of artwork. No, thank you. KATE: It's more than just artwork, Tony. TONY: On a woman, maybe. KATE: What? TONY: You know, on a woman? It means she's up for anything. KATE: Abby's got tattoos. TONY: (CHUCKLES) No comment. KATE: Well, what about me? You think I'm up for anything? TONY: You don't have a tat. KATE: And if I did, that would just blow your theory to hell now, wouldn't it? TONY: Okay, say for a minute I believe you've got one. Where is it? KATE: Nowhere you will ever see. CUT TO: INT. NCIS LAB - DAY DUCKY: Ah, necessity, the mother of invention. I suspect the inventors of Super Glue never imagined that when heated up and applied to surfaces in gaseous forms, its bonding capabilities would enable us to obtain fingerprints from a human leg. ABBY: I like that commercial where the guy puts Super Glue on his hardhat and then glued his head to the beam and hung there. I tried that with my little brother. DUCKY: I sense this anecdote doesn't have a storybook ending. ABBY: It does if you like your stories to end with bald seven year olds. He still gets mad when I call him Kojak. (PASSAGE OF TIME) ABBY: So I pulled a partial off our leg that isn't the junk collector's. Could be the victim's. GIBBS: Run it through the military database. ABBY: So any other body parts show up? GIBBS: No. ABBY: Isn't that a little bit hinky? GIBBS: It's more than a bit. All we've got is a tattooed leg, a sock and a boot. ABBY: You're forgetting about our interesting little bit of botanical evidence. GIBBS: Oh, yeah. That. Yeah. Well, I want the life history; family, where it grew up. ABBY: College transcripts? I know. GIBBS: Yeah. CUT TO: INT. AUTOPSY ROOM - DAY (DOOR SLIDES OPEN) DUCKY: Our victim had a titanium ankle joint which I'm about to remove. GIBBS: Too young for arthritis. DUCKY: Yeah. It was most likely due to an accident; auto, motorcycle, skiing. TONY: Polo. Polo is a very dangerous sport. DUCKY: Yes, the joint will have a serial number traceable to the doctor who performed the surgery. GIBBS: Anything else? DUCKY: Well, as I suspected, our Marine was dismembered postmortem. The jagged teeth pattern on the femur bone suggests that a saw was used. TONY: Ouch! DUCKY: Well he didn't feel it, Tony. TONY: It still makes me wince. DUCKY: Well, given how straight and clean the cut was, it was almost certainly some kind of power saw. I wonder if they still have the Eurail pass. Yeah. In the summer of my eighteenth year, my grandfather gave me a Eurail pass to celebrate my advancement to University. I traveled to nine different countries. Met an Austrian girl named Giselle, who left her fingerprints on my heart, visited all the major museums of Europe. The artwork was extraordinary. Da Vinci, Rembrandt, Van Gogh, Renoir, Botticelli... (DRAWER SLIDES OPEN) TONY: I like saying Botticelli. DUCKY: And that brings me to Christy Brown, the Irish poet and painter. Yes, he suffered from cerebral palsy. Learned to paint with his foot. Quite remarkable. He wrote an autobiography, "My Left Foot," which became an exceptional film starring Daniel Day Lewis. GIBBS: That's a right foot. DUCKY: Oh, so it is. Oh, well. CUT TO: INT. SQUAD ROOM - DAY KATE: (INTO PHONE) Serial number of the ankle joint is three two seven four zero one five. I'll hold. (TO TONY) Doing something case related? TONY: Joint replacement database site, targeting orthopedic specialists, search referenced to hospital privileges and surgical records. KATE: All right, DiNozzo. TONY: (bat) Is it on your butt? KATE: I told you, I was kidding. TONY: You only said you were kidding because you were embarrassed you told me. KATE: I don't have a tattoo. TONY: It's a butterfly, isn't it? You seem like a butterfly kind of girl. KATE: Yeah, it's a butterfly. On my hip. (INTO PHONE) Oh, yes. I'm still here. Mm-hmm. Thank you. (HANGS UP PHONE) (TO TONY) The manufacturer shipped our Marine's titanium ankle to the Naval hospital in Bethesda in ninety nine. (SFX: KEYBOARDING) TONY: It was signed for by Captain Brent Peters. May fourteenth, two thousand. KATE: I'll call Gibbs. TONY: It's not a butterfly, is it? CUT TO: INT. DOCTOR'S OFFICE - DAY PETERS: I remember that surgery. We usually fuse the ankle and implant a metal splint in our young servicemen. But his ankle was literally crushed in an auto wreck. May of two thousand, you said?(SFX: KEYBOARDING B.G.) GIBBS: According to our research. PETERS: Here it is. May fifteenth, two thousand. I implanted that ankle in Marine Private First Class Thomas Dorn. GIBBS: What can you tell me about him? PETERS: I can tell you a lot about his ankle. I don't even remember the rest of him. GIBBS: Seems to be a recurring problem. PETERS: The ankle? GIBBS: No, the rest of him. His leg was found in a Clarksburg, West Virginia, trash bin early this morning. PETERS: Just the leg? GIBBS: So far. PETERS: How deteriorated was the leg? GIBBS: It wasn't. The M.E. estimated he died within the previous twenty four hours. (bat) Is there a problem? PETERS: According to his military record, P-F-C Dorn died two years ago. (CUT TO BLACK) FADE IN: INT. SQUAD ROOM - DAY TONY: P-F-C Dorn's service record. He was only in the Corps eleven months before the accident. He was about to get a medical discharge when he died. KATE: Got the death certificate signed by a Doctor Silvia Chalmers in Harmony, West Virginia. TONY: Harmony? KATE: Yeah, population sixteen hundred. Sounds cute, doesn't it? GIBBS: Cause of death myocardial infarction. Heart attck at twenty two? KATE: As Abby would say... pretty hinky. TONY: I do believe the die is cast, however. If your parents and grandparents live to be old, so will you. GIBBS: I had an aunt who died at seven. TONY: It's just a theory. GIBBS: Where's the autopsy report? KATE: There isn't one. GIBBS: You mean you didn't find it. KATE: No. I mean no autopsy. The doctor signed a death certificate but that was it. TONY: Small towns. You can get away with mrder. GIBBS: The hell you can! You find the doctor in Harmony. Why there was no autopsy report. Find out where this body is buried. You get a court order to dig up P-F-C Dorn and you have that body shipped back here to Ducky. CUT TO: INT. NCIS LAB - DAY DUCKY: Abby! ABBY: Ducky! DUCKY: Find anything? ABBY: Nothing yet. I'll tell you one thing, though, this guy had huge feet. I could wear his sock as a leg warmer. DUCKY: What are you implying, Abby? ABBY: I'm not implying anything. You know what they say about guys with big hands and big feet, right? DUCKY: What? ABBY: They're clowns. (DUCKY CHUCKLES) ABBY: Oh, I got something. CUT TO: INT. CAR - MOVING TONY: What are you so happy about? KATE: I'm just looking forward to Harmony. TONY: Do you really like small towns? KATE: Peace and quiet. A place where people know you by name. No Blockbuster or Starbucks on every corner. What's not to like? TONY: It's too quiet. Everybody knows your name. There's no Blockbusters or Starbucks on every corner. KATE: A big city just can't give you what small towns can, Tony. It's a simpler way of life. A slice of Americana. TONY: Hmm. One that doesn't include fifty yard line seats to the Redskins or women with full sets of teeth. KATE: Yeah, it always comes back to that, doesn't it? TONY: See? You do get me. CUT TO: INT. SQUAD ROOM - DAY ABBY: Hey Gibbs, I ran the partial we pulled off the leg through the military database. GIBBS: Yeah. ABBY: No match. But I did find a piece of straw on the sock. GIBBS: What kind? ABBY: The hay kind. Just your regular basic straw. Sorry. GIBBS: Thanks, Abs. MUSICAL BRIDGE TO: EXT. DOCTOR'S OFFICE - DAY KATE: This is just how I pictured it. TONY: This is just how I pictured it. (DOOR OPENS) MUSICAL BRIDGE TO: INT. DOCTOR'S OFFICE - DAY (SFX: WINDOW SLIDES OPEN) DARLENE: Can I help you? TONY: I'm sure you can. I'm Special Agent Anthony DiNozzo, NCIS. You can call me Tony. We'd like to talk to Doctor Chalmers. Uh... Darlene. DARLENE: Okay. KATE: Why don't you just give her a breast exam? TONY: In good time. CUT TO: INT. NCIS LAB - DAY ABBY: Our seed matured and fell in late fall. It comes from a monoecious yellow flower. Not too showy. The male and female appearing in March to April in separate spherical hems. The leaf is palmately veined, it's four to eight inches wide, ovate in shape and has three to five lobes. GIBBS: Abby, are we ever going to get to the tree? ABBY: Platanus occidentalis. Or more commonly known as... GIBBS: A sycamore tree. ABBY: I'm afraid so. GIBBS: Pretty much grow everywhere, don't they? ABBY: Yep. CHALMERS: (V.O.) It was a tragedy. CUT TO: INT. DOCTOR'S OFFICE - DAY CHALMERS: He was such a nice looking young Marine. KATE: Had you met him before? CHALMERS: No. No, he didn't live around here. TONY: Just walked in? CHALMERS: Well I was the only doctor for forty miles at the time. TONY: Doctor Burger on the sign - is he a new addition? CHALMERS: He's buying out my practice. I still see some of the older patients who don't trust a young doctor. He's only thirty seven. KATE: Hmmm... and who brought PFC Dorn into your office? CHALMERS: I believe he just walked in. Thelma could have told you. Thelma Bowman, my nurse. She died last summer. Stroke. We were together, doctor and nurse, for nearly thirty years. KATE: I'm sorry. CHALMERS: So am I. You saw that young thing Doctor Burger hired to replace her. TONY: Sure did. KATE: I'm sorry, go on. CHALMERS: Well, Thelma brought this young Marine into my office, set him right down there in that chair. He couldn't catch his breath. He was suffering extreme chest pains. Classic heart attck symptoms. TONY: Why didn't Thelma just take him to an examination room? CHALMERS: Well, we only had one and let's see... I think the Thomas twins was in there with the measles. Well anyway, before I could get up from this chair... he'd collapsed right where you're standing now. And I administered CPR while Thelma called County looking for the ambulance, only it was over at a car accident way out in Turtle Creek. TONY: The county only has one ambulance? CHALMERS: You've never lived in a small county, have you, son? TONY: Fortunately, no. CHALMERS: Well, it has its compensations. Anyway, by the time the ambulance got here, young Dorn had expired. KATE: Why didn't the coroner do an autopsy? CHALMERS: Well I...I didn't feel there was a need to. TONY: You're the coroner? CHALMERS: I was. It's pro bono work. Doctor Burger's coroner now. I did do a blood test and found elevated levels of cardiac enzymes. That and his symptoms seemed sufficient. KATE: Not anymore. We're getting a court order to exhume the body. CHALMERS: Oh, my. I'm afraid that's going to be impossible. KATE: You had him cremated? CHALMERS: No, I didn't. His sister did. She was so upset when she identified the body. She didn't have the money to ship him home and she wanted to scatter his ashes over the Blue Ridge Mountains. I told her I really should do an autopsy, but she was so distraught over the... the thought of him being cut up. KATE: You let her talk you out of it? CHALMERS: Oh, I have known the pain of loss. I'm afraid I let hers affect me more than it should have, professionally. That never happened to me in all my years as a doctor. That was when I decided it was time to retire and sell my practice. TONY: Do you recognize this Marine? CHALMERS: No I don't. Why, should I? TONY: He's PFC Thomas Dorn. MUSICAL BRIDGE TO: EXT. DOCTOR'S BUILDING - DAY (DOOR OPENS) KATE: What are you thinking? TONY: Estee Lauder. KATE: The perfume?(DOOR CLOSES) TONY: She was wearing it. Older ladies seem to like it. Had an ex-girlfriend who used it. KATE: Is that why she's an ex-girlfriend? TONY: Exactly. How does a sister misidentify her brother? KATE: She doesn't. TONY: Are we going to have to report the autopsy screw up? KATE: Oh, do I detect a soft heart thing happening here? TONY: That's it, isn't it? The tattoo's a heart. KATE: We're back on that again. TONY: I just can't imagine you getting a tattoo, that's all. KATE: I was drunk. TONY: I can't imagine you drunk either. (KATE AND TONY CLIMB INTO THE CAR) (CAR DOORS OPEN/CLOSE) CUT TO: INT. CAR - DAY TONY: So if it's not a heart... KATE: It's a rose. On my butt. Can we move on now? TONY: Sure. KATE: So we are done with this then? TONY: We are done. CUT TO: EXT. STREET - DAY TONY: (V.O.) Kate, which cheek is it on? CUT TO: INT. SQUAD ROOM GIBBS: What klled him? ABBY: Digitalis. GIBBS: The heart medication? ABBY: Yep. The tox level in Dorn's leg alone was enough to kll a bull. GIBBS: Would an overdose give the symptoms of a heart attck? ABBY: Not just the symptoms. Oh, okay! So you think our leg and that Marine that died two years ago of a heart attck are tied together. GIBBS: I do not believe in coincidences. ABBY: What about that rock formation on the moon that looks like Jay Lenos' chin? TONY: It's perfectly normal. KATE: On a race track maybe. TONY: Women will never understand taking a car ride and trying to bat your best time. ABBY: I hate it when men do that. TONY: See, it's just a woman thing. GIBBS: How'd you do? TONY: Pretty good. I bat my time by four minutes including construction detours. GIBBS: In Harmony. TONY: Oh. Ahh...Doc Chalmers is a very sweet little old lady who unfortunately also happens to be the local coroner. Small town, Boss. Small town. KATE: A woman claiming to be Dorn's sister I.D.'d the body and then conned her into skipping the autopsy and cremating the body. ABBY: Cremation. It's a dad end. (bat) What? GIBBS: This woman must be some sweet talker. KATE: Well, it's more Doctor Chalmers is a very connable little old lady. TONY: Probably gets her roof shingled and driveway tarred every year. GIBBS: Does Dorn even have a sister? KATE: His military file indicates his only living relative is a half sister, Melissa Dorn. GIBBS: You put a trace on her? KATE: Well, I did the best I can balancing my laptop while pulling five G turns. TONY: Ha! That's an exaggeration, Boss. I mean, maybe three G's once. KATE: Ten Mill Road, Comus, Maryland. GIBBS: Keys. TONY: What? I can't drive 'cause Kate's chicken? KATE: I'm not a chicken. GIBBS: You can't drive 'cause you're not going. TONY: Oh, that's different. Where am I going? GIBBS: You're doing a background check on Melissa Dorn. Kate, are you coming? TONY: Abs, do you know where Kate has her tat? ABBY: Yeah. MUSICAL BRIDGE TO: EXT. HOUSE - DAY (CAR BRAKES TO A STOP) GIBBS: Watch her body language. KATE: What are we looking for, short of a confession? GIBBS: Sometimes it's not what they say, it's what they don't say. KATE: Which translates into, we don't have a search warrant and this is the easiest way in. (CAR DOORS OPEN/CLOSE) KATE: What's wrong? GIBBS: You know what kind of tree this is? KATE: Botany was my weakest subject. GIBBS: Sycamore. (MUSIC OUT) FADE IN: INT. MELISSA DORN'S HOUSE - DAY (KNOCK ON DOOR) (DOOR OPENS) MELISSA: Hi. Can I help you? GIBBS: You already have. CUT TO: INT. LIVING ROOM - DAY (SFX: CLOCK CHIMES B.G.) MELISSA: You would have liked Howard. He was the life of the party. KATE: He was your half brother. MELISSA: Yeah. We were raised by our father. Do you have any brothers and sisters? GIBBS: No. MELISSA: An only child? I figured as much. GIBBS: Hmm. How so? MELISSA: You have all the classic traits of a first born; confident, and pays attention to detail, perfectionist, difficulty sharing. GIBBS: Guilty, guilty, guilty. Depends. MELISSA: Hmm. So why the visit after two years? KATE: We're working on another case. There might be a tenuous connection. MELISSA: How can I help? KATE: Do you have any of your brother's personal effects? KATE: Anything that I didn't donate I threw away. It would've made me sad. Oh, where are my manners? Would you like some coffee? GIBBS: Oh, yeah, I'd love some coffee. KATE: None for me, thanks. CUT TO: INT. KITCHEN - DAY GIBBS: This may be the cleanest kitchen I've ever seen. MELISSA: Well that's because it's never been used. GIBBS: You're not the domestic type, huh? MELISSA: I eat over the sink so I don't have plates to wash. GIBBS: Do you even have plates? MELISSA: Paper. GIBBS: This is a big house for one person. MELISSA: And two cats. Do you like cats? GIBBS: They don't like me. MELISSA: How can you tell? GIBBS: By the way they look at me. MELISSA: I hate to break it to you, but cats only have one expression. GIBBS: Hmm. Thank you. MELISSA: You should actually try it before you thank me. GIBBS: Yeah, it's perfect. Thank you. MELISSA: Really? (MELISSA SIPS GIBBS' CUP) MELISSA: You're right. GIBBS: I like your tattoo. MELISSA: It means... GIBBS: Peace, health, prosperity. MELISSA: You know Chinese. Any other hidden talents I should know about? GIBBS: I can sample the frosting on a cake without leaving a fingerprint. MELISSA: Wow! This is um... going to sound terrible, but... I hope whatever you're investigating is... is tied to Tom. GIBBS: Why? MELISSA: Then I wouldn't need to make up an excuse to see you. MUSICAL BRIDGE TO: EXT. DORN HOUSE - DAY KATE: You weren't buying any of that, were you? GIBBS: Any of what? KATE: You know, her charm. GIBBS: Is it really that hard to believe, Kate, that I might be attractive to a woman? KATE: That's not what I meant. GIBBS: Did you find us anything that'll get us a search warrant? KATE: Well, she told you that she lives alone, but the toilet seat was up in the downstairs bathroom. GIBBS: Oh, you can tell that one to the judge. KATE: Okay, well Abby found a piece of straw in Dorn's sock and there is a barn around the back. (bat) Okay, I found nothing to give us probable cause. GIBBS: Maybe I did. CUT TO: INT. LAB - DAY GIBBS: Question, can you match DNA from trees like you can with humans? ABBY: Absolutely. Plant DNA, like human DNA, is unique to each plant, so you can distinguish one sycamore tree from another. GIBBS: Abby, try matching these to the seed we found in Dorn's boot. ABBY: Is the other sample from another location? GIBBS: No, same tree. ABBY: So you want me to run the test twice? GIBBS: Yeah. How long before you have something on both samples? ABBY: Depends on whether or not you want it fast or you want it right. GIBBS: Both. ABBY: Both. Hmm... four...seven... divided by... six hours. GIBBS: Clock's ticking, Abs. CUT TO: INT. SQUAD ROOM - DAY TONY: Six letter word for a reason to commit a crime? Come on, don't tense up. Starts with M. KATE: mrder. TONY: No. Motive. KATE: mrder is a motive. GIBBS: What do you have? TONY: Six letter word for reason to commit crime. GIBBS: DiNozzo. TONY: That's seven letters. GIBBS: Works for me. What do you got? TONY: PFC Dorn purchased a term policy for three quarters of a million two months before his heart attck in Harmony. The beneficiary is his only living relative... KATE: His half sister Melissa. She and Dorn fed some sucker digitalis and dropped him off in Harmony. TONY: Harmony - a small crappy town where she identifies the sucker as her brother, cons the old lady coroner with crocodile tears into cremating the body and not performing an autopsy. GIBBS: The insurance company paid the claim? TONY: Sure did. GIBBS: Get the name of the adjuster? TONY: Stanley Gordon, Rexford Mutual, Baltimore. GIBBS: Why are you two still here? MUSICAL BRIDGE TO: EXT. CAR - MOVING TONY: Come on, Kate. You're only going ten miles over the limit. KATE: And that's pushing it. TONY: What good is it being an armed Federal agent if you can't drive fast? KATE: You get to sht bad guys. TONY: True. KATE: You should have seen Gibbs with Melissa. TONY: He thrat to sh*t her? KATE: No, just the opposite. He was flirting with her. I didn't think he had it in him. TONY: Well, he had it in him at some point. He has been married three times - all redheads. KATE: Melissa's a redhead. TONY: 'Explains it. KATE: Well so is that woman who picks him up now and then. Who is she? TONY: Not a clue. KATE: So he could really be attracted to Melissa? TONY: You can't control who you're attracted to. The whole Julia Roberts, Lyle Lovett thing proves that. Billy Joel, Christie Brinkley. KATE: I get it. TONY: Angelina Jolie and Billy Bob Thornton KATE: You haven't answered my question. TONY: (OVERLAP) ...That guy from the - if you're asking me whether Gibbs would get involved with a mrder suspect, the answer is no. KATE: Three redheaded ex-wives shows his judgment is a little questionable. TONY: None of them were mrder suspects. MUSICAL BRIDGE TO: EXT. STREET - DAY TONY: (V.O.) Although I don't know about the redhead who picks him up now and then. CUT TO: INT. INSURANCE OFFICE - DAY BORDEN: A twenty-two year old Marine buys a term life policy for seven hundred and fifty grand, then kicks two months later from a heart attck? (CHUCKLES) No way I wanted to pay that claim. TONY: But you did. BORDEN: I was overruled from upstairs. KATE: Three quarter of a million dollar question. Why? BORDEN: The sister thrat to sue. Juries get angry when insurance companies don't pay, especially to the only survivor of a Marine injured while serving his county. They tend to award very large multimillion dollar payments as punishment. KATE: Cheaper to pay her off. BORDEN: Our form of insurance. TONY: Did anything turn up in your investigation? BORDEN: Nothing that would convince a jury. TONY: Try us. BORDEN: Okay. But you two think like her lawyer. Why'd he buy a big policy at such a young age and name a half-sister beneficiary? TONY: Half sister or not, she was his only living relative. And why'd your salesman sell it to him if it was so unusual? BORDEN: Why was he cremated before an autopsy could be performed, at his sister's request? KATE: Coroner thought an autopsy was unnecessary. Many people prefer cremation over tombs. BORDEN: Do I need to go on? TONY: No, but you made your point. BORDEN: If you can prove this was a scam, we'll recover something...if only satisfaction. CUT TO: INT. NCIS SQUAD ROOM - DAY DUCKY: Six cups and it isn't even noon. GIBBS: Oh, Duck, this one's bothering me. DUCKY: So Abby said. You have her doing the same test twice. GIBBS: Dorn's leg shows up in a trash big. Tox screen shows digitalis, which is probably what he and or his sister gave the Marine in Harmony two years ago to pull off an insurance scam. DUCKY: Sounds reasonable. GIBBS: So who klled Dorn a few days ago? Why toss his leg into a trash bin? And why can't we find the rest of his body? DUCKY: I recall a case in the Forensic Journal where the only evidence was a thumb found in the coin return of a pay phone. GIBBS: Yeah? And? DUCKY: Well, that's the only the part I remember. GIBBS: Oh, Ducky, this is not helping me. DUCKY: Well have you identified the body the sister claims was Dorn's? GIBBS: Cremated and spread over the Blue Ridge Mountains. DUCKY: Oh, that does pose a problem. GIBBS: Duck. DUCKY: Hmm? GIBBS: Who would you get to pose as a Marine? DUCKY: You. (GIBBS LAUGHS) GIBBS: Yeah. (GIBBS WALKS O.S.) DUCKY: Well, I would. MUSICAL BRIDGE TO: INT. NCIS LAB - DAY ABBY: Match! (SFX: BEEP TONES) ABBY: It's not from the same tree. (MUSIC OUT) FADE IN: EXT. ARMORED UNIT - DAY gn VESTA: The manual says it takes three minutes to change a tire on L-A-V Twenty Five. The manual is written by an Army pogue. I say Marines can do it in less than two. What do you way? MARINES: Ooorah! gn VESTA: Make it happen. GIBBS: gn Vesta. Special Agent Gibbs, NCIS. gn VESTA: I recall an M.P. Gibbs at Lejeune. Long time ago. GIBBS: Could be. gn VESTA: He was high and tight. GIBBS: Not exactly long and shaggy, gn. gn VESTA: Seen sheep dogs shorter. GIBBS: Don't recall you. gn VESTA: Court Street. J-ville. GIBBS: I broke up a lot of brawls there. gn VESTA: Yeah, I was one of them. Got me a week in the brig. GIBBS: Gonna hold that against me? gn VESTA: Naw. You was one of the better prison chasers. You gave us smoke breaks on our work detail. That's why I remember you. (SHOUTS) Forty five seconds! How can I help you, Gibbs? GIBBS: PVC Thomas Dorn. gn VESTA: Ain't heard that sandbagger's name since he O.D.ed a couple years ago. GIBBS: Death certificate says heart attck. gn VESTA: Coke induced, I'll bet. GIBBS: If he was a cokehead, why didn't you boot his butt out? gn VESTA: Car accident bat me to it. GIBBS: He have any buds? gn VESTA: A couple. He was tight with a Corporal Morgan. He went U-A same time Dorn kicked. GIBBS: But you never found him, right? gn VESTA: Not that I heard of. Probably holed up in some backwater-ville with that redhead they used to run with. GIBBS: Melissa. gn VESTA: Yeah, that's her name. She was a fox. And both Dorn and Morgan were shacking up with her. You know her? GIBBS: Oh, yeah. Yeah, I know her. She's Dorn's half sister. gn VESTA: She didn't act like no sister. (SHOUTS) Minute thirty! Why are you asking about this now? GIBBS: Dorn's leg was found deep sixed in a dumpster two days ago. gn VESTA: Two days? Some ghoul dig him up? GIBBS: No. He had boucoup life insurance. From what you just told me, it looks like he and Melissa klled Corporal Morgan, she identified the body as Dorn, cremated him, and claimed the insurance. gn VESTA: (bat) Who klled Dorn? GIBBS: Well, foxy lady may be a black widow. MARINES: (SHOUT) Ooorah! gn VESTA: You want to tell them? GIBBS: (LONG bat) Ooorah! MARINES: (SHOUT) Ooorah! CUT TO: INT. NCIS LAB - DAY GIBBS: Hey, what's wrong? ABBY: Look at it. GIBBS: It looks like a match. ABBY: Precisely. GIBBS: Good work, Abby. ABBY: No it's not! You gave me two samples from the same tree. "B" matched and "A" didn't. I screwed up! GIBBS: Sycamore "A" was from a tree down the street. ABBY: What?! GIBBS: The idea of matching plant DNA was a bit hinky for me. ABBY: Oh ye of little faith. GIBBS: Abby, come on. All I did was give you a blind test. ABBY: Well, you could have done that by not telling me which sample came from the suspect's sycamore. GIBBS: I didn't think of that. ABBY: Oh! GIBBS: This puts Dorn at Melissa's house. Do you know what that means? ABBY: You've got probable cause. MUSICAL BRIDGE TO: EXT. MELISSA DORN'S HOUSE - DAY GIBBS: Tony you take the barn. Kate, you got the house. (VAN DOORS SLIDE OPEN) KATE: What're you gonna take? That didn't come out right. Not what I meant. GIBBS: Yeah, I know what you meant.(CAR DOORS OPEN/CLOSE) CUT TO: INT. MELISSA DORN'S HOUSE - DAY (KNOCK ON DOOR) (DOOR OPENS) MELISSA: Well, was my coffee that good? GIBBS: We're here to execute a search warrant. MELISSA: For what? My brother died two years ago. His body was cremated. (DOOR CLOSES) GIBBS: Don't you mean it was Corporal Morgan's body that was cremated? MUSICAL BRIDGE TO: INT. BARN - DAY TONY: This has to be the cleanest barn ever. If she uses a service, I've got to have that number. (INTERCUT FLASHBACK SCENES OF THE BODY) CUT TO: INT. LIVING ROOM - DAY MELISSA: I really don't know what you think you're going to find here. Why do you keep staring at me? I could never have klled Tommy. I loved him! GIBBS: A gn who knew both of you told me the same thing. Funny, though, he didn't know that you were brother and sister. CUT TO: INT. BARN - DAY (MUSIC OVER ACTION) (SFX: STATIC BEEP TONES) CUT TO: INT. LIVING ROOM GIBBS: Looks like you could use a glass of water. (GIBBS GETS WATER FROM THE KITCHEN) (MUSIC OVER ACTION/MELISSA SIPS THE WATER) GIBBS: (TO KATE) Thank you. Have Abby compare her prints with those on her brother's leg. (DOOR OPENS/ CLOSES) TONY: Blood on the floor. Nicks in the concrete. Looks like they were made by a power saw. That's got to be where she did her slicing and dicing. (TONY LOOKS AROUND THE ROOM AND PULLS OUT HIS gn) GIBBS: (bat) What? TONY: There's someone else. (MUSIC OVER ACTION/TONY WALKS UP STAIRS AND INTO THE BEDROOM) (DOORS OPEN) MUSICAL BRIDGE TO: INT. LIVING ROOM - DAY KATE: Who else is here? Who else is here? MUSICAL BRIDGE TO: INT. BEDROOM - DAY (MUSIC OVER ACTION/TONY AND GIBBS MOVE INTO THE BEDROOM) TONY: Boss, I'd like you to meet Doctor Sylvia Chalmers who loves Estee Lauder. CUT TO: INT. LIVING ROOM KATE: Doctor Chalmers! CHALMERS: Good afternoon, Agent Todd! KATE: You were in on it! CHALMERS: In on what, my dear? MELISSA: They know, Momma. TONY AND KATE: (IN UNISON) Momma? CHALMERS: They didn't know I was your momma 'till you told them, dear. I know I should have told you all back in Harmony, but the mother in me had to protect my only child. It was wrong, I know that. But her wicked half-brother intimidated her into defrauding an insurance company when his friend had a heart attck. GIBBS: Brought on by an overdose of digitalis. CHALMERS: Well what in the world would make you think that? Couldn't be from a forensic test. Melissa had his body cremated. GIBBS: Hey, notice how it's all you, Melissa? CHALMERS: A Marine has a heart attck in my office. Melissa identifies him as her half-brother... who I've never met. Now how am I involved? MELISSA: Mother! CHALMERS: Melissa. You defrauded an insurance company. I'm afraid you're going to have to take your punishment for that...and only that. GIBBS: Boy, oh boy, you are good. But so are we. We found your digitalis in Thomas Dorn's leg. CHALMERS: My digitalis?! Every doctor and hospital in this country uses digitalis. GIBBS: Each order has its own chemical marker. How else would a manufacturer recall a specific batch in a quality control problem? MELISSA: You shouldn't have done it, Mama. CHALMERS: Calm yourself, Melissa. Just calm yourself. They can only prove that you defrauded an insurance company. MELISSA: No, Mama. They can prove everything. They know you klled him with digitalis. They know you cut up Tommy into little pieces and they know you threw him away in the garbage-- (CHALMERS HITS MELISSA) CHALMERS: (SHOUTS) Stop! She's just hysterical. You can't use any of this in court. GIBBS: She was read her rights. She waived them. We can use it all. We will. CHALMERS: You little fool. They couldn't prove anything. MELISSA: I don't care anymore, Mama. I loved Tommy and you mrder him. (MELISSA SOBS B.G.) CUT TO: INT. NCIS SQUAD ROOM - DAY TONY: They just found the left arm in the garbage dump at Chiefton. KATE: So where does that leave us? TONY: That's a right arm from Katy Lick, a torso from Marshville and the original leg from the dumpster in Clarksburg. KATE: Still no head or left leg? TONY: Well, which I'm betting are going to be turning up around Lake Floyd or Jarvisville. ABBY: Did you check Hooterville? TONY: Where's Hooterville? ABBY: You guys, Petty Coat Junction. Green Acres. Hooterville. TONY: I prefer TV shows from this century. ABBY: Oh come on, they're hilarious! When we were in college we had this drinking game and the drugs collect in a solvent layer and that leaves only proteins and biological material behind. TONY: Huh? KATE: That's great, Abby. I'll make sure to get that in the report. TONY: What report? GIBBS: We've got Humpty Dumpty back together? KATE: Most of him. TONY: Melon and left leg are still outstanding. GIBBS: Any more tattoos? TONY: Just the rose on Kate's butt. GIBBS: It's not a rose. KATE: (b*at) He doesn't know. He's lying just like he did about the digitalis. Okay, tell them. Gibbs? (MUSIC OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x12 - My Other Left Foot"}	foreverdreaming
MUSIC IN: INT. CONVENIENCE STORE - DAY (MUSIC OVER ACTION/TEENS PLAY VIDEO GAMES) (SFX: VIDEO GAMES B.G.) VIDEO VOICE: (V.O.) Near miss. Near miss. Target not acquired! Taking fre! Near miss! Taking fre. Reload.(SFX: VIDEO GAME gn B.G.) LEO: You so suck! DAVE: This machine sucks! It's impossible! VIDEO VOICE: You're ht, game over! Insert fifty cents to continue. LEO: No way. You still owe me three bucks for the tacos. DAVE: Screw it. You know what? The damn thing's rigged to make you lose anyways. VIDEO VOICE: kll sht! kll sht! Target destroyed! kll sht! kll sht! kll sht! Bonus level! kll sht! kll sht! kll sht! kll sht! kll sht! High score. Mission accomplished. You are the new high scorer. (SFX: VIDEO GAME gn B.G.) MUSICAL BRIDGE TO: INT. RECRUITING CENTER - DAY DAVE: So you're telling me if we sign up now, you can guarantee us we go to Hawaii? ALVAREZ: Let's just say, you sign an open contract, I will bust my ass to get you any duty station you want. Hawaii, Italy, Spain... DAVE: Iraq? ALVAREZ: I ain't gonna lie to you, boys. Iraq might be a problem. What with boot camp, S-O-I, follow-on schools.... we're talking over a year and a half of training. Iraq will be pretty much be over by the time you boys graduate. Sorry. You were talking about wanting to go there, right? LEO: Yeah. Yeah sure. ALVAREZ: The truth is most Marines don't see combat. I mean, look at me. Been in the Corps sixteen years. Closest I've ever come to a bllet is... (SFX: GLASS BREAKS) (ALVAREZ SLUMPS OVER HIS DESK dad) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) FADE IN: INT. RECRUITING CENTER - DAY (SFX: POLICE SIREN B.G.) "ONE sht, ONE kll" DUCKY: (V.O.) If it's any consolation, Gibbs, gn Sergeant Alvarez's death was almost instantaneous. GIBBS: C.O.'s on the way down here, Ducky. Can we move him yet? DUCKY: We can't place him on the gurney until we take pictures and Gerald has the camera and he's nowhere to be found. GIBBS: Can we hurry it up? I don't think gn Sergeant Alvarez would appreciate being seen like this. DUCKY: You knew the man? GIBBS: No. DUCKY: But if it's any consolation, gn, he's the absolute best we've got. My assistant on the other hand... Excuse me. But that's the problem today, isn't it? The technological advances of the so-called Internet generation. M-P Three players, and IPODS and video games. Spinning themselves into a self-induced state of attention deficit disorder. Barely absorbing one cluster of information before the next one strikes their fancy. GIBBS: DiNozzo, where's my bllet? TONY: Hopefully in this box or the wall behind it. Got your Knfe on you, boss? GIBBS: Rule number nine, never go anywhere without a Knfe. KATE: (OVERLAP) ...go anywhere without a Knfe. TONY: Are you sure about that? I thought nine was never ask a girl her weight on the first date. KATE: Well that depends entirely on if you want a second one or not, Tony. GIBBS: What've you got, Kate? KATE: Well, the kids can't tell us much except for where Alvarez was sitting when he was popped. Several people reported hearing a gn around thirteen hundred, but no eyewitnesses. TONY: I bet you had no problem getting dates wearing one of these, Gibbs. GIBBS: Dating was not exactly my problem in the Corps, DiNozzo. What did the LEO say? KATE: It might be gng-related. Alvarez had a couple of run-ins with the locals. Last month they threw a cinder block through the window here. TONY: Well, if it was gng-bangers, they're packing serious heat. It went straight through the sheet rock into what looks like some kind of toy warehouse. GIBBS: Give me my Knfe back. You two better get moving. Don't come back without my bllet. (GIBBS WALKS O.S.) TONY: You think he'd let me borrow his uniform for a weekend? KATE: I don't know. I just hope I'm there when you ask him. MUSICAL BRIDGE TO: EXT. BUILDING - DAY DUCKY: Where on earth did he put the gurney? I swear if he's lost inside that MP Three again... GERALD: I got the rest of those photos that you asked for. Gibbs said that he wanted gn Sergeant Alvarez out of there quick, so I staged the gurney near his body. (DOOR CLOSES) CUT TO: INT. WAREHOUSE - DAY (DOOR OPENS/ CLOSES) TONY: Did you ever play with one of these as a kid? KATE: Do I look like the doll type, Tony? TONY: Well maybe if you smiled more, did something with your hair. CARL: Can I help you? KATE: Oh, yes. We're with NCIS. TONY: It stands for... CARL: Naval Criminal Investigative Service. Yeah. Yeah, I'm Carl. A.W.M., assistant warehouse manager. KATE: You've heard of us. CARL: I watch Forensic Files on Court TV. They profiled a case your department did a few years ago. TONY: Really? CARL: Yeah. You guys couldn't solve it, so they brought in the FBI and those guys- TONY: I don't have cable, Carl. KATE: We're here on official business. CARL: Oh, about the mrder next door - not that we know it's a mrder yet, but from all preliminary indications it appears that it's probably... TONY: (OVERLAP) The bllet went through the common wall into your warehouse. We need to forensically trace its trajectory. CARL: Not a problem. You gonna use the laser pointer or the more outdated string technique? MUSICAL BRIDGE TO: INT. RECRUITING CENTER - DAY GIBBS: Major Dougherty? DOUGHERTY: Yes? GIBBS: Special Agent Gibbs, NCIS. DOUGHERTY: Five months in Iraq, I didn't lose a single man. GIBBS: What can you tell me about the gn Sergeant? DOUGHERTY: He was a legend. A career recruiter who never missed a quota. GIBBS: Any ideas? DOUGHERTY: We've had some trouble with gangs in the neighborhood. Vandalism, mostly. They don't like it when the kids around here choose a career over hanging out on the street corners. GIBBS: What about complaints filed from the kids he did recruit? DOUGHERTY: There were a few. GIBBS: I'll need to see those. DOUGHERTY: Not a problem. GIBBS: The real ones, Major. The one that tend to surface when you don't make your quota. DOUGHERTY: Hell, if it helps you catch his kller, I'll give you his whole damn filing cabinet, Agent Gibbs. GIBBS: All right. CUT TO: INT. TOY WAREHOUSE - DAY KATE: Where the hell's the bllet? It's like it just disappeared. TONY: I'm going to need you on your knees over here, Kate. It's time to get dirty. KATE: What? TONY: We have to sweep the floor for marks. It may have lost velocity and dropped. KATE: Right. I knew that. CARL: That's not how they do it on CSI. KATE: You really need to get off that couch more, Carl. TONY: Was there a pallet or display like right around here, say one o'clock this afternoon? (SHOUTS) Carl! CARL: Uh... uh yeah. It went out about an hour ago. It was a load of dolls heading for Richmond. TONY: Can you contact the driver? CARL: Sure. TONY: Good, because we've got a new address for the drop off. CUT TO: INT. SQUAD ROOM - DAY GIBBS: I got a present for you, Kate. KATE: Okay? What is it? GIBBS: Seven years worth of gn Sergeant Alvarez's personal and professional correspondence. It's sorted by category. KATE: Which are? GIBBS: I'm going to leave that part of it up to you. KATE: Oh, come on, Gibbs. At least tell me what I'm looking for? GIBBS: Same thing we're all looking for, Kate. A mrder. KATE: Oh, why didn't I take the damn dolls! MUSICAL BRIDGE TO: INT. LAB - DAY TONY: Is there a reason you pulled all their heads off, Abby?? ABBY: It's so we know that we've checked them. TONY: Yeah, but the one with the round in it was sitting practically on top. You emptied the entire box. ABBY: Well, it was kind of fun. TONY: And they're naked? ABBY: Shh! I am about to perform my first autopsy. (ABBY SLICES THE HEAD OPEN) ABBY: Ha! Gerald, to Abby, please. GIBBS: Does Ducky know you do that? ABBY: Hey Gibbs. I was just about to run this through the ballistics lab. GIBBS: Good, because when you're done, I want to see that mock-up of the trajectory on the computer. ABBY: Then I'm gone. GIBBS: Why are all these dolls naked? TONY: Don't look at me, Boss. Must be a goth thing. CUT TO: INT. BALLISTICS LAB ABBY: It definitely wasn't a pstol, Gibbs. Seven point six two millimeters. KATE: A rfle. ABBY: The problem is I can't tell which kind. Hopefully I can to look it up on the plates. GIBBS: Why don't you start with what it's not, Abby? ABBY: Well, I know it's not an AK forty seven. There's lots of those floating around D.C. The grooving's all wrong. Without knowing the exact make of the rfle, I'm going on guess work, but I think it explains why there's no eyewitnesses. Every rfle has a certain range where they experience maximum penetration power. It has to do with the amo load, the length of the barrel, and the rifling. We know our round went through a Marine, ricocheted off an office chair, through a box, a sheet rock wall, and ended up in our doll's head. There's no way that sht came from just outside the window or even across the street. The sht was long range. Really long range. GIBBS: Our sht is a snper. (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - NIGHT KATE: Relax your hand or you're never going to get it in your mouth. TONY: I'm trying, but this thing's too damn slippery. KATE: You're never going to impress a girl like that. TONY: Oh, whatever. Just promise me the next time we decide to do this, Kate, make sure that they don't forget the forks. No one likes a showoff. Screw this. Do you have any soup? Ah... (KATE CHUCKLES) (DOORS SLIDE OPEN) GIBBS: That had better not be mine, DiNozzo. TONY: Gibbs ordered soup? Great! (TO GIBBS) If it's any consolation, it's not very good. GIBBS: Whose chow mein? KATE: Tony's. GIBBS: Good. So anything interesting in Alvarez' complaint file? KATE: Well it seems he had a gift for exaggerating the opportunities available in the Marine Corps. TONY: You'll like this one, boss. One guy wanted to be a paramedic, so Alvarez guaranteed him the Corps would train him to save lives. KATE: What's wrong with that? GIBBS: The Marine Corps doesn't have medical personnel. TONY: They're all Navy. GIBBS: Technically he was correct. I mean, Marines do save lives mostly through the use of superior firepower. KATE: Well, that's pretty much his M.O. The bait and switch. This kid wanted to be a pilot. Alvarez told him that he'd be sitting in a cockpit by his second year. TONY: Plane mechanic? KATE: Close. Ejection seat technician. GIBBS: Any of them contain thrat? KATE: No. Not yet at least. TONY: You know, come to think of it, you never told us why you enlisted, boss. (PHONE RINGS) GIBBS: That's because it's personal. (INTO PHONE) Gibbs. KATE: You think his recruiter told him a fast one? TONY: I doubt it. KATE: Why? TONY: Can you imagine someone lying to Gibbs and getting away with it? GIBBS: (INTO PHONE) Yeah. (TO TONY AND KATE) That's our authorization for the building Abby thinks the snper fired from. DiNozzo, you're with me. KATE: What about me? GIBBS: No. I need to see if there's a mrder hiding in that sack of files. TONY: Good luck. KATE: Alone eating Chinese food again. Oh, what a refreshing change, Kate. MUSICAL BRIDGE TO: EXT. ALLEY - NIGHT TONY: It's a nice neighborhood. A couple of coats of paint, maybe a bulldozer. GIBBS: You're looking at the reason Alvarez made quota every month. TONY: Actually, I think I'm looking at vomit. GIBBS: He was trying to give these kids a real chance to get out of here. The problem is that some of them were too young or ignorant to realize it. TONY: Maybe. But you've got to admit he had a unique approach. GIBBS: You got a key? TONY: Right here. (TONY TRIES TO UNLOCK THE DOOR) TONY: The thing is stuck. GIBBS: Give me a try. (DOOR OPENS) CUT TO: INT. ELEVATOR (SFX: METAL ELEVATOR DOORS SLIDE OPEN) GIBBS: Hey, DiNozzo. Kind of reminds me of your apartment. Except for that minty fresh urine smell. TONY: For your information, I have a maid now. GIBBS: You can afford a maid? TONY: It's amazing what you can do when you don't have to pay three alimonies. Ow! Oh, this doesn't make any sense. Are you sure this is the wall facing the recruiting station? GIBBS: Yeah. Northeast. TONY: Abby's trajectory's got to be wrong. How could a guy fre from here? There isn't even a window. GIBBS: I don't know. That's what we're going to find out. Let's get busy. TONY: Minty fresh urine smell. (SFX: CAMERA SHUTTER CLICKS) TONY: Well, I don't know what we got, but I'm done. Gibbs? GIBBS: DiNozzo! Hey, you got your Knfe? TONY: Rule number nine. Never go out... GIBBS: Yeah yeah. Just testing you - seeing if you were paying attention. TONY: What exactly are we looking for here? (GIBBS REMOVES THE BRICK) GIBBS: This right here. Okay, let's bag it. Oh boy, we've got a major problem. TONY: What do you see? GIBBS: A sh*t who is highly intelligent and methodical. Out of a thousand bricks in this wall, he only removed the one he needed. (SFX: CAMERA SHUTTER CLICKS) MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY KATE: Did you have fun last night? TONY: Oh yeah. Got in around four a.m. and filed evidence for another hour. KATE: Really? Was Gibbs with you? TONY: Oh, god! Thanks for reminding me. I'd better call and make sure he's up. GIBBS: Hey, you're late! TONY: And a good morning to you, Sir. GIBBS: Kate, get those files sorted? KATE: Looks like we might have had our gn figured wrong. These aren't complaints. They're letters thanking him. He kept in touch with a lot of his recruits even after graduation. The middle ones are mostly bitching and moaning along the lines of last night. And these are the two that stood out. This one sounded the most promising. GIBBS: Ooh, I'll say. This guy is thrat to cut off Alvarez's head. KATE: Yeah. He's dad. Six months ago in Iraq. This one is our best bet. Sergeant Aaron Barnes. He claims that Alvarez told him that if he signed up for a six year hitch, he'd qualify for the Marine Enlisted Commissioning Program. CUT TO: INT. RECRUITING STATION - FLASHBACK ALVAREZ: Listen, son. You want to be an officer someday, you've got to show the Marine Corps you're committed. Between you and me? Nothing shows commitment like a six year hitch. Hell, I can even see myself saluting you some day. (END FLASHBACK) CUT TO: INT. SQUAD ROOM - DAY KATE: It turns out Barnes' high school GPA wasn't high enough to qualify for MECP. And when he found that out, he wanted to break his contract. GIBBS: That's not going to happen. KATE: Yeah. And when that got sht down, he fired off a personal letter to Alvarez, promising to look the gn up again when his contract was up. TONY: That's not exactly a death thrat. KATE: Well his contract's up this year. But here's the kicker. Two years ago he was selected for snper school and he was so good that they brought him back as an instructor. He's there now. GIBBS: Let's roll. (GIBBS WALKS O.S.) TONY: Did you have any of that shrimp last night? KATE: How could I? You shoved them all in your mouth. TONY: Consider yourself lucky. MUSICAL BRIDGE TO: EXT. TARGET RANGE - DAY (SFX: gn B.G.) BARNES: Adjust your mil scale. You're shting up-slope with a variable ten knot wind! Close doesn't count in combat, Corporal. Even a half inch off your mark, the target gets the opportunity to live and return the favor! MARINE: (V.O.) Yes, Sir! GIBBS: Sergeant Barnes?(SFX: gn CONTINUES) BARNES: Stand by, gentlemen. GIBBS: Special Agent Gibbs, Todd, DiNozzo, NCIS. BARNES: What can I do for you, Sir? KATE: We want to talk to you about gn Sergeant Freddy Alvarez. CUT TO: EXT. snper SCHOOL AREA - DAY BARNES: I guess he couldn't get away with it forever. GIBBS: What? BARNES: Promising things he knew he could never deliver on, Sir. GIBBS: The thing is, we're not here to talk about his recruiting methods. KATE: He was klled yesterday. TONY: sht by a snper. GIBBS: How many people can make that sht? Six hundred meters. Through glass. Down angle. BARNES: You think it's me. (BARNES UNFOLDS THE LETTER) BARNES: I can't believe he kept this letter. You've got to believe me, Sir. It's not what you think. TONY: It never is. GIBBS: Where were you, Sergeant, yesterday between noon and fourteen hundred? BARNES: Individual PT, Sir. I ran the loop around Lunga Reservoir. KATE: Can anyone corroborate that? BARNES: Corporal Stenson. We work out together every Wednesday. TONY: Where's the Corporal now? BARNES: Running a Land Nav class in the field. I can have him call you when he gets back. GIBBS: I've got a better idea. Why don't you give me his grid coordinate... and a map? MUSICAL BRIDGE TO: EXT. COURSE - DAY KATE: Are you sure you know where you're going? GIBBS: I used to do this for a living. TONY: They had maps back then? (MUSIC OVER ACTION/ ALL RUSHING THROUGH THE BRUSH) STENSON: Number one rule if you're lost, you've got to find a mountain and sh*t a back azimuth off it. MARINE TWO: Yes, Sir. GIBBS: Corporal Stenson? STENSON: You two work out the next azimuth. I'll be up with you in a minute. GIBBS: Special Agent Gibbs, NCIS. STENSON: What's up, Sir? You and your people working on some land nav? GIBBS: Among other things. Did you PT with Sergeant Barnes yesterday afternoon? STENSON: Yes, Sir, every Wednesday between noon and fourteen hundred. KATE: What'd you do? STENSON: We um... we were running the obstacle course, Ma'am. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM - DAY BARNES: Here it is, okay? gn Alvarez lied to me. It pissed me off so I wrote him that stupid letter. But joining the Marine Corps is the best thing that ever happened to me. GIBBS: It's sixty eight degrees in here, Sergeant. Are you hot? Or do you always sweat this much? BARNES: I am not a mrder, Sir. GIBBS: You'll excuse me if I don't take your word for it. BARNES: My contract was up the end of this year, Sir. Why would I reenlist for another six years if I hated the Marine Corps? GIBBS: Maybe you just enjoy being a snper. (INTERCUT RECRUITER SCENE) GIBBS: You get a thrill out of the fact that your target is totally unaware of your presence (INTERCUT RECRUITER SCENE) GIBBS: Their lives in your hands. (INTERCUT RECRUITER SCENE) GIBBS: You choosing the exact moment you plan to end it. (INTERCUT RECRUITER SCENE) GIBBS: Do you think that Alvarez felt those cross hairs lining up on his chest? (INTERCUT RECRUITER SCENE) BARNES: I didn't sh*t him, Sir! MUSICAL BRIDGE TO: INT. RECRUITING CENTER - DAY (MUSIC OVER ACTION) (SFX: gn) (RECRUITER FALLS ONTO THE DESK) (MUSIC OUT) MUSIC IN: EXT. PARKING AREA - DAY KATE: Next time drive a little faster, Tony. I think my glands still have an ounce of adrenaline left.(CAR DOORS OPEN/CLOSE) TONY: Responsible crime scene investigation demands a timely arrival, Kate. KATE: Yeah, well it'll help if the investigators don't puke all over it. GIBBS: That brings back memories. KATE: Memories of what? GIBBS: Marriage.(CAR DOORS CLOSE) TONY: Second Marine Recruiter was klled while Sergeant Barnes was in custody. Why are we still holding him? GIBBS: He's not telling the truth. I just don't know about what. KATE: Well, he could have a partner. snpers like to use spotters. GIBBS: Why don't we see if these two sht are even connected? (SFX: CARS BRAKE TO A STOP OUTSIDE) TONY: Boss, are you expecting company? CUT TO: INT. RECRUITING CENTER - DAY GIBBS: The victim was a Marine. That puts it in our jurisdiction, Agent Kramer. KRAMER: Maybe, but the second shting was in Maryland which puts it across state lines and in ours. GIBBS: According to who? KRAMER: The Director of the FBI. GIBBS: Oh, is he here somewhere? KRAMER: Look, if you pull your people back, I promise you'll get copies of everything we find. GIBBS: And if I don't? KRAMER: Well, I wouldn't worry about that. You'll be receiving a call from your director any minute now. And one more thing, Agent Gibbs. Fornell warned me about you. Do not try and remove the body. TONY: Oh, you're not still using laser. (TO KATE) They're still using laser. KATE: Maybe they didn't get the memo. TONY: You didn't get the memo, did you? D.O.J memorandum. Twelve August. Ballistic laser calibration devices. The health warning... may lead to impotence. Maybe he doesn't have to worry about that anymore. KATE: We can get the trajectory, no problem. TONY: The competition's going to be for the bllet. DUCKY: I don't think the unfortunate Staff Sergeant Allen is going to be of much use there. The bllet passed clean through. GIBBS: Then I suggest we help our good friends, the FBI, find it. Tony, make a hole. TONY: Scalpel. GIBBS: Kate, find the bllet. DUCKY: I know you find the departmental turf wars as tedious as I do. People of serious intent should never allow the frivolous to deter them from the pursuit of justice, should they? Don't you think? TONY: I've got the secondary bllet hole, boss! FREEMAN: All right, we'll take it from here. TONY: Ah, no. I'll wait for my boss. He's the good looking guy with all his hair. GIBBS: Tony. I'll handle this. FREEMAN: You still haven't heard from your director yet? GIBBS: No. Until we do... that bllet in the wall behind us belongs to NCIS. FREEMAN: Well, from where I'm standing you're a little outnumbered. GIBBS: Well, from where I'm standing, I'm not real worried about it. FREEMAN: All right, listen, Gibbs, I don't have time for this bull! Will somebody please give me the damn NCIS director on the phone? GIBBS: Well, that may be a bit of a problem. Thursday's his golf day. FREEMAN: Listen, I am not fooling around anymore, Gibbs. GIBBS: I'm not either. The man has a mean handicap. (SFX: CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah. Gibbs. CUT TO: EXT. RECRUITING CENTER - DAY TONY: (INTO PHONE) Kate's got the bllet, boss. CUT TO: INT. RECRUITING CENTER - DAY GIBBS: (INTO PHONE) Yes, Sir. Yes, Sir. It won't happen again, Sir. (TO FREEMAN) It looks like you win this one. Don't get used to it. FREEMAN: Don't take it personally, Gibbs. We all have our orders. GIBBS: Listen, when you see Fornell, you say hi for me. FREEMAN: My pleasure. You have a nice day now. (MUSIC OVER ACTION/GIBBS PICKS UP THE FEATHER) GIBBS: Hathcock. CUT TO: EXT. PARKING LOT - DAY KATE: (V.O.) Who's Hathcock? GIBBS: (V.O.) Carlos Hathcock. (ON CAMERA) A Marine snper legend. Thirty nine confirmed kills in Vietnam. KATE: What's that got to do with pigeon feathers? GIBBS: It's not a pigeon feather. Look. Shaft's too small. KATE: Okay. That white bird feather. TONY: The V.C. nicknamed Hathcock after a small white feather he kept in the band of his hat. KATE: History Channel? TONY: His biography. KATE: You read his biography? TONY: I watched his biography on The Biography Channel. KATE: So do you think it's somehow connected to the sht? GIBBS: Don't know. If we find another one of these that matches it in gn Sergeant Alvarez's office... TONY: We'll strip search the roaches, boss. (GIBBS/KATE AND TONY CLIMB INTO THE TRUCK) KATE: You realize what this means, if it is some kind of a calling card? GIBBS: `Yeah. It means he likes to meet the recruiter before he kills them. CUT TO: INT. NCIS LAB - DAY ABBY: The second bllet's in way better shape than the first. Some of the rifling patterns are matching up like the Glam Slam Techno Twins. Oh, sorry! Wrong generation. Think the Andrew Sisters. GIBBS: Going back a little far there, Abby. ABBY: So I don't have enough to be a hundred percent certain that it's the same gn, but I am one hundred percent sure it's the same model. GIBBS: You back-track the sht's location yet? ABBY: It looks like our sht might be mobile. Following the trajectory in reverse, there isn't a building or a structure that makes any sense as a shting position. There's only road. GIBBS: The sht fired from a car? ABBY: Or a truck or a van. CUT TO: INT. RECRUITING CENTER KATE: What's up? TONY: This whole sensitivity to women in the workplace thing backfired. KATE: What are you talking about? TONY: I'm talking about how we divide up our tasks. I always get the floor. Up close and personal, floors are scummy. KATE: It's no big deal, Tony. I would have done it. TONY: Hah! But you didn't. KATE: Floors are scummy. TONY: My point exactly. You would never volunteer to take the floor. I would have to suggest it, and I would be met by lots of comments about my chauvinism and insensitivity. KATE: Hah. I don't need a floor for that.(CLOSET DOOR OPENS) TONY: Cute. But my point is in order for me to be P.C., I've got to take the floor.(DOOR CLOSES) KATE: Do you want me to take the floor? TONY: Ah, you're just saying that to humor me. KATE: No, you have a point. And if it bothers you that much, I'll take the floor. I insist. TONY: Thanks. KATE: No problem. (SFX: CLOSET DOOR OPENS) (TONY SHOUTS) (KATE LAUGHS) CUT TO: INT. OBSERVATION ROOM - DAY BARNES: I've been here for three hours without anybody telling me what's going on. GIBBS: You'll be here another three hours if that's what it takes. CUT TO: INT. INTERROGATION ROOM - DAY BARNES: It takes for what, Sir? You said you weren't charging me. GIBBS: Not yet. BARNES: What did Corporal Stenson say when you found him? GIBBS: That you two were P-T-ing yesterday. BARNES: And that's exactly what I told you, Sir. GIBBS: Yeah, you did, Sergeant. Running the Lunga reservoir loop between noon and fourteen hundred. CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: (FILTERED) A long route...about nine miles. CUT TO: INT. INTERROGATION ROOM BARNES: Yes, Sir. GIBBS: So how come Corporal Stenson doesn't remember making it? You don't have an alibi, Sergeant. Whether you're the sh*t or not, you lied during a criminal investigation. Hey, let's discuss those charges. BARNES: Rachel Hauser. GIBBS: What was that? BARNES: Rachel Hauser, Sir. GIBBS: When and where? BARNES: Noon to fourteen hundred. Motel just outside the main gate. GIBBS: Does Rachel Hauser have a phone number?(BARNES WRITES ON THE PAPER) BARNES: Sir, my wife... she doesn't know.(DOOR OPENS) GIBBS: I'm just checking an alibi, Sergeant. The rest is between you and her. (DOOR CLOSES) CUT TO: INT. RECRUITING CENTER - DAY TONY: gn Sergeant Alvarez must have recruited the cleaning crew, because they obviously haven't been here in a while. KATE: Maybe it blew away after the first time we swept. A feather is light. A slight breeze could have taken it across the room. TONY: I think I'd have to be a pretty strong breeze. There's no cross-ventilation in here. Ventilation. (MUSIC OVER ACTION/TONY REMOVES THE FEATHER FROM THE VENT) MUSICAL BRIDGE TO: INT. STAIRS - DAY KATE: Are you still thinking this guy is in the military? GIBBS: Something tells me you don't believe it. KATE: It's the profile. This feather is our sh*t's calling card. It's like a signature. TONY: But a white feather for all we know could mean he has a Forrest Gump fixation. KATE: Well, it doesn't matter if other people know what the feather means. He knows. I just think this guy is living in a fantasy world, and I can't picture him functioning in some highly organized military environment. TONY: So you think he's ex-military, like the beltway snper? KATE: Possibly. But why target only Marine recruiters? GIBBS: Because they turned him down. This guy isn't military. He's a wannabe. KATE: Now that fits the profile. TONY: How many people do the Marines turn down every year? GIBBS: Thousands. By the time we get a chance to check them out, this guy's going to sh*t again. KATE: If he continues his pattern, we have less than twenty four hours. GIBBS: Maybe it's time we got more pro-active. MUSICAL BRIDGE TO: EXT. RECRUITING CENTER - DAY DOUGHERTY: And our heartfelt prayers and wishes go out to the families of gn Sergeant Alvarez, Staff Sergeant Allen. We are continuing to work with law enforcement to bring the person or persons responsible to justice. REPORTER: Will the Marine Corps suspend recruiting? DOUGHERTY: Never. Marines don't run from danger. This recruitment office will re-open tomorrow morning, manned by one of our finest, gn Sergeant Thomas. REPORTER KENT: How do you feel about being selected for this assignment, gn Sergeant? GIBBS: I wasn't selected, Sir. I volunteered. (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - DAY GIBBS: Welcome to the Marines, Kate. TONY: Kate's gonna be your C.O.? GIBBS: That's the plan. TONY: I didn't realize Kate knew so much about being a Marine. GIBBS: Kate doesn't know squat about being in the Marines. She doesn't have to. KATE: I won't be interacting with the recruits, Tony. I'll just be there to focus on how they interact with Gibbs. One of them might be our snper. TONY: You're not the only one around here who knows how to profile. KATE: Maybe. But with that haircut, you wouldn't pass for a ROTC student. GIBBS: The vest is going to hardly even show underneath this. You need your ribbons. What do we hear back from the FBI? TONY: Besides Agent Freeman's extreme dislike for you? Uh... they'll cooperate, but he's not too keen on the visible part. GIBBS: Our sht isn't a moron. If he doesn't see police and FBI presence in the neighborhood, he's going to think something's wrong. TONY: I have a problem with that part too, Boss. What's the point of setting a trap if he knows about it? KATE: Part of a snper's mission is to infiltrate enemy territory. Our guy wants to prove himself, validate his skills. He's not going to pass up an opportunity like this. TONY: What if he succeeds? GIBBS: He won't. TONY: Don't take this the wrong way, but... you actually make that look good. KATE: Thanks. Have you tried yours on yet? TONY: Tried what? KATE: Gibbs said you'd be in uniform too. TONY: He did? KATE: Mm-hmm. CUT TO: EXT. TELEPHONE POLE - DAY TONY: Gibbs gets Dress Blue Charlies. I look like one of The Village People. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: Hah hah. Maybe you can find a local cop and get a dance routine going. (SCENE CUT) (TONY LAUGHS) ABBY: (FILTERED) How are you doing? TONY: I'm hardwiring the main microphone to the D-S-L line. I've already got the other two on a wireless relay. There we go. (SCENE CUT) TONY: (FILTERED) You know if this works, Abs, you're a genius. ABBY: Oh, Tony. Tell me something I don't know. (SCENE CUT) TONY: I once dated my high school music teacher. (SCENE CUT) ABBY: Really? What was his name? (SCENE CUT) TONY: Hah. Cute. (SCENE CUT) ABBY: Okay, all mics are operational. I'm set here. (SCENE CUT) TONY: All right. I'm coming down now. (SCENE CUT) ABBY: You're a macho macho man, Tony. (END TELEPHONE INTERCUTS) (SCENE CUT) INT. RECRUITING CENTER - DAY DOUGHERTY: The new window looks good. GIBBS: Yes, it does. DOUGHERTY: How does it feel to be back in uniform, gn? GIBBS: It's a little tighter than I remember. DOUGHERTY: You really think this will work? GIBBS: I don't know. If it doesn't, no sense worrying about it. DOUGHERTY: Spoken like a true Marine. (DOOR OPENS) DOUGHERTY: Good morning, Captain. KATE: Major. Gibbs. I mean, gn. GIBBS: Kate, the cover is off inside. KATE: Ah. GIBBS: You're looking good. Ah... these are out of order. KATE: I spent an hour trying to get it right. GIBBS: It's okay. A common newbie mistake. DOUGHERTY: Maybe I should take her place. Your whole plan rests on this guy believing that you're both Marines. GIBBS: We have it under control, Major. She'll do fine. DOUGHERTY: Well then I'll just stay and help out. There's nothing wrong with another set of eyeballs. GIBBS: Not a good idea. The best thing that you can do is leave this to us. DOUGHERTY: I lost two of my men to this psycho. You really think I'm passing up on a chance for payback? GIBBS: Major, your mission is to protect our country. Our mission right now is to protect you and your Marines. Allow us the honor of doing our job. DOUGHERTY: Good luck, gn Sergeant. Captain. (DOOR OPENS) CUT TO: INT. CAR TONY: (INTO PHONE) Comm check. CUT TO: INT. VAN FREEMAN: (INTO RADIO) Loud and clear. Over. CUT TO: INT. RECRUITMENT CENTER KATE: Hear you fine, Tony. CUT TO: INT. NCIS LAB ABBY: Crystal. CUT TO: INT. RECRUITING CENTER KATE: Comm's up, Gibbs. GIBBS: Now for the hard part....waiting. KATE: You really think we're going to get any potential recruits today? GIBBS: Yeah. KATE: A man was mrder here three days ago. Who'd choose today to decide to join up? GIBBS: A Marine. KATE: Good point. GIBBS: Get ready to profile. (DOOR OPENS) GIBBS: Can I help you? CUT TO: INT. CAR - DAY TONY: What are you doing? Giving away free X-boxes... CUT TO: INT. RECRUITING CENTER - DAY TONY: (V.O./FILTERED)... in there? That's the tenth kid this morning. KATE: He's really good at this. I'm even thinking of signing up. CUT TO: INT. CAR TONY: What about potential snpers? CUT TO: INT. RECRUITING CENTER - DAY KATE: You'll be the first to know. TONY: (V.O./FILTERED) No, Gibbs will. CUT TO: INT. CAR - DAY TONY: Just tell me he's still wearing his vest. CUT TO: INT. RECRUITING CENTER - DAY KATE: He said it was visible under his shirt. CUT TO: INT. CAR - DAY TONY: I knew it. If that snper doesn't kll him I will. What a stupid idiotic thing. CUT TO: INT. RECRUITING CENTER - DAY GIBBS: You realize we have an office in Richmond. Why drive all the way down here to see a recruiter? RECRUIT: Well, I was watching the news and I thought I'd check it out. GIBBS: The snper doesn't scare you? RECRUIT: Well, I figure he's sh*ting recruiters, not recruits, right? GIBBS: So you'd drive all the way here to see if I get sht or not? DELIVERY MAN: (V.O.) If I could get a signature. KATE: No problem. DELIVERY MAN: (V.O.) See you later. GIBBS: Good luck to you. RECRUIT: Thanks. CUT TO: INT. VAN - DAY FREEMAN: (INTO RADIO) It's four thirty. I think this guy's a no show. The last two attcks were between noon and two. So I say we call it a day, Agent DiNozzo. TONY: (V.O./FILTERED) Negative. CUT TO: INT. CAR - DAY TONY: Office isn't supposed to close for another thirty minutes. We close early, it'll look suspicious. CUT TO: INT. RECRUITING CENTER - DAY GIBBS: What do you think, Kate? KATE: That you have at least one more day as a human target. (DOOR OPENS) GIBBS: Hello. gn Sergeant Alvin Thomas. How can I help you there, son. YOUNG MAN: Yeah, I don't know. I've been thinking about it a little I guess. You got some pamphlets or something? GIBBS: Right here. The Marines offer a wide variety of choices. What kind of things interest you? Sit down. YOUNG MAN: Not sitting around in an office like this. GIBBS: Can't say that I blame you. Are you interested in something more active? YOUNG MAN: Yeah. GIBBS: You seem like a combat arms kind of guy to me. atillery? Combat engineers? Infantry? snper teams? YOUNG MAN: Yeah. I don't know. Like I said, I'm not really sure. I just... maybe I should come back. GIBBS: I'll be here. (YOUNG MAN WALKS TO THE DOOR) (DOOR OPENS/ CLOSES) KATE: Tony, the kid who just left. CUT TO: INT. CAR - DAY KATE: (V.O./FILTERED) Six four, blond hair... CUT TO: INT. RECRUITING CENTER KATE: ...black jacket and jeans. Early twenties. We think he might be our man. (INTERCUT FLASH BACK SCENES) GIBBS: He was already here. KATE: Forget the kid, Tony! The snper is the water delivery guy! I repeat! The snper is-- (MUSIC OVER ACTION/snper FIRES THE rfle) (F/X bllet TRAVELS SLOW MOTION TO THE CENTER GLASS) CUT TO: INT. NCIS LAB - DAY ABBY: The mics picked up the sht! (V.O.) I'm triangulating now! Done! He's at the merchant building on the (ON CAMERA) corner of Sixth and K. Tenth floor. CUT TO: INT. VAN - DAY FREEMAN: Right there. CUT TO: INT. NCIS LAB - DAY ABBY: The building has an alley in the back. It's the most likely exit from where he's positioned. CUT TO: INT. CAR - DAY TONY: I'm on it! CUT TO: INT. RECRUITING CENTER GIBBS: Go get him, Tony. CUT TO: INT. VAN - DAY FREEMAN: We'll take the southern entrance. CUT TO: EXT. ALLEY - DAY (SFX: CAR BRAKES TO A STOP) (MUSIC OVER ACTION) TONY: (SHOUTS) Federal Agent, drop the wapon! Drop it! Drop it! (SFX: CAR TIRES SCREECH TO A STOP) TONY: Drop the wapon! (CAR DOORS OPEN/CLOSE) TONY: Hey! (SFX: RAPID gn) FREEMAN: Thank you, Agent DiNozzo. We'll take it from here. Back me up. Secure the wapon. (SFX: POLICE RADIOS AND SIRENS B.G.) GIBBS: Hey. TONY: We got our guy. The FBI is taking the credit, of course. GIBBS: Kate, where is your cover? KATE: What? MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY KATE: Kyle Hendricks. Twenty two. Rejected by Sergeant Gordon Mackenzie, eleven August, two thousand two, at the Rockville recruiting center. Failed the personality profile assessment. Sociopathic tendencies with anti-social behavior. His stated goal for joining the Marine Corps, he wanted to be a Marine sn*per. GIBBS: Yeah, well you've got to admit, he was one hell of a marksman. DiNozzo. Captain. TONY: So what was it like? KATE: What like? TONY: Being his superior officer. KATE: You mean, did I get to boss him around? Make him salute me? Call me, Ma'am? TONY: Basically. KATE: It was great! TONY: You're lying. KATE: Am I? Abby said you looked really good in a uniform too. TONY: Did she? KATE: Yeah. She said you'd fit right in with a biker boy, and a Indian chief, a cowboy and all the other macho macho men! (MUSIC OUT) (KATE LAUGHS) (ENDING CREDITS UP AND OUT) (FADE OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x13 - One sht, One kll"}	foreverdreaming
MUSIC IN: EXT. COUNTRY ROAD - NIGHT (CAR BRAKES TO A STOP) (JULIUS WALKS TO THE CAR) JULIUS: Hi. Is everything okay? WOMAN: Can you just call Triple A? My cell phone can't get a signal out here. JULIUS: What's the problem? WOMAN: I don't know. The car just stopped. JULIUS: Mind if I look under the hood? I'm a Lieutenant Commander in the Navy, stationed in Oceana. Just want to help, okay? (WOMAN GASPS) JULIUS: Relax. I was just getting my I.D. I'm a dentist, I don't carry a gn. (SFX: WINDOW LOWERS) WOMAN: I do. (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. NCIS SQUAD ROOM - DAY "THE GOOD SAMARITAN" KATE: (V.O.) It's my sister's number. I always use her as my emergency contact. (INTO PHONE) No, she lives in Miami. What difference does it make if she's local or not? Well, no. Of course... I could ... I could get a number of somebody in town. It's just that...I'll have to call them first to make sure it's all right. Fine, I'll call you back. (SFX: HANGS UP PHONE) TONY: I'll be your emergency contact. KATE: Thanks, I'll get somebody else. TONY: What's wrong with me? KATE: Where do I start? TONY: They never call. They just need a number. KATE: How do you do that? TONY: First team varsity, Ohio State. So what do you say? KATE: Fine. Just don't make a big deal out of it. TONY: Great! So what are my responsibilities? Are there any financial ramifications? Do I need to give blood if you get hurt? KATE: See? This is what I was talking about making a big deal out of it. TONY: (OVERLAP) Maybe I should go by your house and check out the floor plan. (SFX: DRAWER SHUTS) KATE: Oh, forget it! Forget it, okay?! I'll just um... I'll ask Abby. TONY: Suit yourself. ABBY: Whoa! Are you guys Libras? KATE: No. TONY: No. ABBY: They are so screwed this week! (ABBY WALKS O.S.) TONY: Why don't you ask Gibbs? KATE: Maybe I will. Why is he carrying two cups of coffee today? TONY: I don't know, and I don't want to know. But it probably has something to do with one of his ex-wives. (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Gibbs. (HANGS UP PHONE) GIBBS: We have a possible execution-style mrder of a Navy Lieutenant Commander in Grayson County. Let's call Ducky. TONY: You know I have call waiting. For emergencies. I don't think Gibbs even knows what call waiting is. CUT TO: EXT. ROADSIDE - DAY GIBBS: Gibbs. NCIS. SHERIFF DUPRAY: Hello Gibbs, NCIS. You got a first name? GIBBS: Jethro. SHERIFF DUPRAY: Your parents had a sense of humor. Who's the rest of your posse? GIBBS: Special Agent Todd, DiNozzo. Our M.E., Doctor Mallard. SHERIFF DUPRAY: What can I do for you? GIBBS: I understand a Naval officer was klled here last night. SHERIFF DUPRAY: That's right. GIBBS: If it's all the same to you, Sheriff... SHERIFF DUPRAY: Charlie. GIBBS: ....since the victim was a Naval officer, we'd like to take over the investigation. SHERIFF DUPRAY: Well it isn't all the same to me, Jethro. The voters of Grayson County didn't elect me sheriff so I could cede jurisdiction to some out-of-towners - no matter how good looking one of them might be. GIBBS: We'll share jurisdiction. SHERIFF DUPRAY: A mrder on a state road in my county? I don't think so. GIBBS: With all due respect, Sheriff... SHERIFF DUPRAY: Charlie. GIBBS: ...the forensic resources of NCIS dwarf those of Grayson County. SHERIFF DUPRAY: Well, I'll tell you what. I'll handle the local investigation; you can have custody of the physical evidence for forensic purposes and do the on-base investigation. But any prosecution will take place in Grayson County, everything runs through me, no exceptions, and I get full credit. It's an election year. GIBBS: What have you got? CUT TO: EXT. GRASSY AREA - DAY SHERIFF DUPRAY: Looks like Commander Julius got a flat, pulled over to fix it, somebody came along, robbed him and klled him. No clothes, no wallet, no watch. We traced him through the car registration. GIBBS: Kate, photos. Tony, laser and sketch. DUCKY: This reminds me of the tale of the traveler who was beaten and left by the highway. SHERIFF DUPRAY: How so? DUCKY: Oh, a man from Samaria came by. Yes, he saw the poor fellow, picked him up, carried him in his arms to an inn. He bathed his wounds, bandaged him and left money to feed him. This was unusual because the Samarians were considered outcasts and of low moral fiber. Yeah, but from then on he's been known as the "good Samaritan." SHERIFF DUPRAY: Man you can talk. DUCKY: Perhaps over dinner? SHERIFF DUPRAY: You're cute. You've got no chance, but you're cute. DUCKY: Don't be too swift in your dismissal, Charlie. Destiny has brought us together. SHERIFF DUPRAY: You might want to check those tarot cards one more time. DUCKY: This Samaritan wasn't one of the good ones, was he, my friend? GIBBS: What have you got, Duck? DUCKY: Single gn to the back. One, two... oh, no exit wound. Based on the blood splatter, I'd say he was sht where he dropped. GIBBS: Shell casings? SHERIFF DUPRAY: None that we could find. We set up grids and went over each one using a metal detector. Found zip. DUCKY: That's odd. GIBBS: What? DUCKY: His hands were bound after he died. If they were tied before he was klled, it would've restricted circulation and the blood would have pooled and been unable to escape. GIBBS: Making his hands redder than the rest of his body. DUCKY: Precisely. GIBBS: Time of death? DUCKY: Oh, Jethro, you've really got to have some patience. (DUCKY AND GIBBS WALK O.S.) SHERIFF DUPRAY: What's his story? KATE: What do you mean? SHERIFF DUPRAY: Well is he single, available? KATE: Uh, he's single. As far as available, I wouldn't know. (SHERIFF DUPRAY WALKS TO THE CAR) SHERIFF DUPRAY: I saw a car with its trunk up so I pulled over. Didn't know I'd be rolling into a crime scene. What's that cologne you're wearing? GIBBS: Not wearing any. SHERIFF DUPRAY: Oh, that's me. New perfume. You like? GIBBS: Got a tow truck we can borrow? SHERIFF DUPRAY: Sure, doll. (SHERIFF DUPRAY WALKS O.S.) GIBBS: Don't say it, DiNozzo. TONY: I wasn't going to say anything. GIBBS: Don't think it. TONY: Too late. (PASSAGE OF TIME) GIBBS: When we get to Oceana, I want you to search Julius' apartment. TONY: What are we looking for? GIBBS: Motive to kll him. KATE: You don't think it was a crime of opportunity? GIBBS: His hands were tied behind his back after he was klled. KATE: Well maybe it was part of the kller's ritual. GIBBS: Kate, that's why we're going to Oceana. SHERIFF DUPRAY: Jethro! I need to know how to get hold of you. GIBBS: The number's on the card I gave you. SHERIFF DUPRAY: What about after hours? GIBBS: Uh... they can find me. SHERIFF DUPRAY: Is this NCIS's idea of cooperation? CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Based on the width and edges of the entry wound and the absence of an exit wound... I'd say you were klled by a hollow point bllet. Oh, Gerald, it's a conundrum. GERALD: What's that? DUCKY: How a society can develop cures for all sorts of diseases can be the same society that develops a bllet that does this kind of damage. Do you know why they call them dum-dum bllts? GERALD: Uh... no. DUCKY: In the late eighteen nineties, the British military developed them in India at the Dum-Dum arsenal. Yes, their use in warfare was banned at the first international peace conference in eighteen ninety nine and the Hague. GERALD: I actually find that interesting. DUCKY: As opposed to what? CUT TO: EXT. MEDICAL CLINIC - DAY (DOOR OPENS) GREEN: How did he die? GIBBS: He was sht in the back. Any idea what he was doing out there? GREEN: His sister lives in Kentucky. He might have been on his way home from a visit. GIBBS: How long had he been stationed here? GREEN: About five years. Been with the Navy almost fifteen years. It was his life. GIBBS: Never married? GREEN: Well, if he was it was before he arrived here. GIBBS: How well did you know him? GREEN: Not very. GIBBS: You're his Commanding Officer. GREEN: Commander Julius was a bit of an odd duck, if you know what I mean. GIBBS: I don't. GREEN: He was a competent dentist, but he wasn't one of the boys. GIBBS: Didn't like to go out and hoist a few, huh? GREEN: Exactly. He would rather sit in front of a computer screen surfing for collectibles. GIBBS: What kind? GREEN: I don't know. I could ask around. GIBBS: Know anybody who had a grudge against him? CUT TO: INT. JULIUS' APARTMENT - DAY (DOOR OPENS) KATE: I wonder who Commander Julius' decorator was. TONY: Siegfried and Roy? (MUSIC OVER ACTION/TONY AND KATE LOOK AROUND THE ROOM) TONY: Oh, yeah. Nice gear. Hey, what do you think of this? (READS SLOWLY) Igottoomany.... KATE: I got too many. TONY: Oh, yeah. Thanks. What do you think that means? KATE: I have no idea. (TONY WALKS TO THE BEDROOM) (DOOR OPENS) TONY: (V.O.) Kate, he got too many. CUT TO: INT. BEDROOM - DAY KATE: He collects lunch boxes? TONY: They're collectibles. KATE: Yeah, but they're lunch boxes. TONY: Well, so he has an unusual hobby. My grandfather collected buttons. He always said, "Anybody can collect coins or stamps. But buttons..." Oh! Magnum P.I. lunchbox! Mag PI. I love Magnum P.I. I had one of these in elementary school. Tom Selleck was the man! KATE: Are they valuable? TONY: Probably. Why? KATE: Could be a motive. TONY: Ah. Lunchbox deal gone bad? KATE: People have klled for a lot less. TONY: I think I may know what those numbers were on the computer post-it. CUT TO: INT. LIVING ROOM - DAY KATE: What is this going to tell us? TONY: He buys and sells lunch boxes on E-bay. We can check his feedback rating, and see if anyone has a beef with him. Haven't you every bought anything on E-bay before? KATE: Have you? TONY: Just some buttons for my cousin Petey. Hundred percent. So much for a lunchbox motive. CUT TO: INT. SQUAD ROOM - NIGHT KATE: Somebody's popular. TONY: Not me. Clerk screwed up again. And they seem to be from Sheriff Dupray. KATE: Thought you gave her your cell. GIBBS: Guess I forgot to turn it on. TONY: What does she want? GIBBS: She wants to video conference. CUT TO: INT. MTAC ROOM - DAY GIBBS: What can I do for you, Sheriff?(BEGIN TELEPHONE CONVERSATION) SHERIFF DUPRAY: (ON SCREEN) Jethro, if you're not going to call me Charlie, we're going to have a difficult time working together. GIBBS: Okay, Charlie. SHERIFF DUPRAY: (ON SCREEN) There was a mrder two counties over, very similar to Commander Julius. In fact, almost exactly the same. GIBBS: How so? SHERIFF DUPRAY: (ON SCREEN) The victim was found off the side of a country road, nude, bound, one gn in the back, no shell casings found. GIBBS: Who was the victim? SHERIFF DUPRAY: (ON SCREEN) A David Truly. He wasn't in the Navy, but he was a civilian employee at Naval Air Station Oceana. I think we've got a serial kller on our hands. (MUSIC UP AND OUT) MUSIC IN: INT. MTAC ROOM - DAY TONY: This reminds me of a case I worked once. Guy hated mailmen. KATE: Letter carrier. TONY: What? KATE: They're called letter carriers, not mailmen. TONY: Since when? KATE: I don't think there was a specific date, Tony. It just kind of evolved. GIBBS: Is this case in any way relevant to our case? CUT TO: INT. STAIR CASE - DAY GIBBS: If the Sheriff is right, we need to figure out how the kller is choosing his targets. KATE: How does he know the cars that stop are going to be Navy connected? GIBBS: Maybe he doesn't. Maybe if someone pulls over who's not Navy, he just waves them on. TONY: Lot of east-west highways in Southern Virginia head towards Virginia Beach. It makes sense a lot of people on them will be Navy. GIBBS: Get a hold of Truly's personnel records. See if there's any connection between him and Commander Julius. And check Julius' C.O. TONY: On it. KATE: I know. You're going to ask me to call the LEOs in the other county and have them ship over the evidence. GIBBS: I wasn't going to ask. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Yeah, the bllet entered the back through the left intercostal space, between the third and fourth ribs. The trajectory was from left to right, indicating that the sht fired from the left. Would you weigh what's left of the liver for me, please, Gerald? GERALD: No problem, Doc. GIBBS: Anything unusual? DUCKY: Ah, it's rather straight forward, actually. GIBBS: That's unusual. DUCKY: Well, the bllet took a fairly circuitous route through Commander Julius after it entered. GIBBS: Usable for ballistics? DUCKY: Ah, it's difficult to say. The bllet was a nine millimeter hollow point, sustained some fragmentation. I sent it up to Abby. GIBBS: Cause of death? DUCKY: gn wound to the back. GIBBS: You can't be much more straight forward than that, Duck. DUCKY: Well, he bled out. The bllet was a particularly nasty form of hollow point. When it expanded on impact, it's copper jacket peeled back to form six sharp claws, one of which nicked his aorta. Excuse me. GIBBS: Even if he made it to a hospital, Duck, he didn't have a chance. DUCKY: Yeah, well it wasn't an execution-type slaying...not that it makes any difference to Commander Julius. But the GSR pattern indicated he was sht from a distance of three to five feet. GIBBS: The kller tied Julius' hands postmortem. Did he do anything else? DUCKY: Well, there is no sign of sexual abuse if that's what you're asking. I did find traces of a powdery substance on his wrist. (DUCKY BLOWS HIS NOSE) GIBBS: Drugs? DUCKY: No. I doubt it. Abby's analyzing it now. I suspect it'll turn out to be corn starch. GIBBS: Used as a lubricant for latex gloves. DUCKY: There is actually quite a controversy about the use of powder as a donning agent in gloves. GIBBS: You know, I read that one, Doc. That's why there are no prints. Thank you. (GIBBS WALKS O.S.) DUCKY: Well, you'll find this interesting, Gerald. CUT TO: INT. NCIS GARAGE - DAY (SFX: AIR HOSE HISSES B.G.) GIBBS: Find anything, Abby? ABBY: This is the left rear tire off Commander Julius' car. Notice anything unusual? GIBBS: It's inflated? ABBY: Is that a guess? Or do you actually know where I'm going with this. GIBBS: What do you think? ABBY: Well, I don't know. That's why I asked you. GIBBS: Why don't you just tell me? ABBY: So you don't know. GIBBS: I want to make sure you know. ABBY: Hmm. GIBBS: Hmm. ABBY: We should play poker some time. GIBBS: Yeah, we should. ABBY: According to Sheriff Dupray's report, when she got to the scene the tire was flat. But I had no problem filling it. GIBBS: Sure it's not a slow leak? ABBY: This is the second time I've filled it. And the first time I had it submerged in water. There were no bubbles. There was nothing wrong with this tire. GIBBS: Somebody let the air out to make it look flat. ABBY: The kller went to a lot of trouble to make a crime scene look like something else. GIBBS: Any luck with the tire track? ABBY: That depends on your definition of luck. GIBBS: You're particularly feisty today. ABBY: Thanks for noticing. I ran the track through the tread assistant database. The CD-Rom has over ten thousand tire tracks for comparison. It's great for parties. On top is the partial we cast at the scene. GIBBS: You matched them. ABBY: I did. Here's the bad news. This particular brand is like the prom queen of tires. It's very cool. It fits all kinds of mid-size cars and SUVs. I hate getting behind SUVs. You can't see anything. GIBBS: Do you have a list of the models that use that tire? ABBY: It's in your email. And I included the tire distributors in the Virginia Beach area that sell that brand. So Julius' prints are all over the car as you would expect. I did find some unidentified prints on the hood. GIBBS: Did you run them through....? ABBY: (OVERLAP) Run them through AFIS? GIBBS: Feisty and psychic. ABBY: It's a kller combination. I didn't get any hits on the prints. The interior is clean - there's no blood, there's no bodily fluid. But I did find something peculiar on the trunk lock. GIBBS: Corn starch. ABBY: Ducky. Hmm. There's just no way that this was a crime of opportunity. Whoever pulled it off put a lot of thought into it. CUT TO: INT. SQUAD ROOM - DAY KATE: Ah! I called the county clerk's office to see about getting the records sent over and I get a recording. TONY: Really? KATE: And the recording tells me to call another number, which I do, which gives me another recording that directs me to dial the first number that I called. TONY: Look on the bright side. KATE: What bright side? TONY: That's just an expression. (DOORS SLIDE OPEN/CLOSE) KATE: Big mistake turning off the cell. TONY: Ah, Charlie. I almost didn't recognize you. SHERIFF DUPRAY: Like getting out of that uniform. Evidence from the other mrder. Special delivery. KATE: Wow! We never get this kind of cooperation! SHERIFF DUPRAY: It's not a problem. Where's Jethro? GIBBS: Right here. SHERIFF DUPRAY: Surprised to see me? GIBBS: Oh, yeah. Yeah. Surprised is one word that does come to mind. SHERIFF DUPRAY: Case files and photos from the Halifax County mrder. GIBBS: I appreciate that. SHERIFF DUPRAY: Jethro, I think you owe me a dinner. GIBBS: Have you always been so shy? SHERIFF DUPRAY: Well, Jethro, there are two kinds of people in this world. The ones who go after what they want, and everybody else. Where are we going? GIBBS: The cafeteria. (GIBBS AND DUPRAY WALK O.S.) (PASSAGE OF TIME) (DOORS SLIDE OPEN) GIBBS: Do you have something to say? KATE AND TONY: No. GIBBS: What do we got here? KATE: Well, these photos are almost carbon copies of the ones I took in Grayson County. Charlie put together a profile of the kller. TONY: White male, age twenty five to thirty four, of at least average intelligence, possibly a military background. KATE: Also makes reference to a sub-type of serial kller, the mission-oriented type. He seeks out a specific group that he believes the world would better without. GIBBS: Doesn't narrow it down much. KATE: They also recovered a slug. Nine millimeter hollow point. GIBBS: What's the condition? KATE: It's too damaged to try and match. GIBBS: Does it say anything in there about the bllet having six sharp claws? KATE: No, but they don't have access to the equipment that we do. Abby might have better luck. TONY: Here's something you don't read everyday. One of the patrolmen noticed a wet patch of ground. Someone took a whiz on the side of the road. GIBBS: While they were waiting for the car to come along. TONY: They dug up the whole patch, sealed it, tagged it and sent it for DNA analysis. GIBBS: And? TONY: Hasn't been tested yet because of the backlog at the state lab. GIBBS: Get them to send it to Abby. And remember, two killings don't make a serial kller. CUT TO: EXT. ROAD - NIGHT (MUSIC OVER ACTION/BODY FALLS TO THE GROUND) (PASSAGE OF TIME) TONY: Z-four. Nice. Three point oh liter, two hundred and twenty five horse power, dual overhead cam. Twenty four valve in line, six cylinder engine, double-VANOS variable A-valve timing. Oh, I love cars! KATE: There's no flat. All the other victims' cars had flat tires. TONY: It wouldn't matter. She's got run-flat tires. They come standard. GIBBS: Hey Charlie. Thanks for the call. SHERIFF DUPRAY: My pleasure, Jethro. GIBBS: What do we got here? SHERIFF DUPRAY: A motorist called nine one one. Said they saw a car pulled off the side of the road with the emergency flashers on. They sent a patrolman. This is what he found. GIBBS: Victim been I.D.ed? SHERIFF DUPRAY: Lieutenant James Seeger. Aviator at Oceana. KATE: Sure looks like the work of our guy. DUCKY: Well, I beg to differ, Kate. This young man was klled between two and three yesterday afternoon. The body has double lividity. The blood settles twice. GIBBS: He was klled someplace else and dumped here. DUCKY: Precisely. TONY: Copycat? DUCKY: Well, the details have all been in the press. They match in almost every respect. It's nearly impossible to come to any other conclusion. KATE: That means we have two Kllers on the loose. (MUSIC UP AND OUT) FADE IN: EXT. FIELD - DAY DUCKY: ...three. GIBBS: I think we're looking for a woman. TONY: Female serial kller goes against the odds. But not unheard of. SHERIFF DUPRAY: What's your thinking, doll? GIBBS: Most men prefer hands-on klling.... strangulation, sab. Women prefer hands-off klling. KATE: Like these. GIBBS: Women are meticulous about leaving the crime scene free of material evidence. SHERIFF DUPRAY: Which would account for why we found no shell casings or fingerprints. GIBBS: What would cause a man to pull over on a dark road at night? KATE: Damsel in distress. GIBBS: Exactly. SHERIFF DUPRAY: Handsome and smart. GIBBS: I think our answer is in Oceana. Go through base records for any disgruntled civilian employees, dishonorable discharges, anybody with a chip on their shoulder. KATE: What are you going to do? GIBBS: I'm going to talk to Lieutenant Seeger's RIO. KATE: Can I ask you a question, Gibbs? GIBBS: Is this one of those questions where it's not going to matter if I say no? KATE: I was just wondering if there was any rhyme or reason behind how you divide up assignments. GIBBS: Yeah. CUT TO: EXT. NAVAL AIR STATION - DAY WALLACE: Jimmy liked to take his Z-Four up to the Blue Ridge Parkway, drop the top, crank up some country tunes, and just whoppin' it out. GIBBS: Something funny about that? WALLACE: I hate country music. We were always arguing about that. Sometimes he'd take his Fatboy up there. GIBBS: His what? WALLACE: His Harley. That was Jimmy, you know. Fast cars, fast jets... GIBBS: The need for speed. WALLACE: Exactly. He had a bad boy vibe. That was part of his appeal. GIBBS: When was the last time you saw him? WALLACE: Two days ago. We were doing night F.C.L.P. GIBBS: Yeah, I read his service records. His fit-reps were all outstanding. WALLACE: He was a helluva pilot. GIBBS: Do you know anybody who would want to kll him? WALLACE: His wife. GIBBS: Do you want to take a minute to think about that? WALLACE: Don't need to. GIBBS: Any specific reason? WALLACE: There's a laundry list. At the top, they're going through a particularly nasty divorce. I guess I should say they were going through a divorce. GIBBS: How nasty was it? WALLACE: Mutual restraining orders, yelling and screaming, each one accusing the other of cheating. GIBBS: Any truth to that? WALLACE: I can't speak for Laura. Jimmy was a man's man. He loved the ladies and the ladies loved him. But I never saw him cross the line, and I think he would've told me if he did. GIBBS: Because he told you everything. WALLACE: And I told him everything. When you trust your life to someone, literally, you usually don't keep any secrets. GIBBS: Normally, when someone kills their spouse, there's a financial upside. Jimmy have a second job? WALLACE: No. He had a very successful grandfather. He was the original U.S. importer of Swiss Army Knives. Made some serious coin. GIBBS: Jimmy was the beneficiary? WALLACE: Along with his brother and sisters. GIBBS: How well did you know the wife? WALLACE: Well enough to know she's crazy. GIBBS: How crazy? WALLACE: She hired a Haitian priest to put a curse on Jimmy. GIBBS: When was the last time Jimmy saw her? WALLACE: About a month ago, I think. They did most of their talking through lawyers. You know that song, "Thin Line Between Love and Hate?" GIBBS: Nope. WALLACE: Doesn't matter, the title kind of says it all. Whoever wrote that had Jimmy and Laura in mind. CUT TO: EXT. SEEGER HOUSE - DAY (KNOCK ON DOOR) (SFX: DOG BARKS B.G.) (DOOR OPENS) GIBBS: Laura Seeger? LAURA: That's me. GIBBS: NCIS. Special Agent Jethro Gibbs. Special Agent Katelyn Todd. Do you have a minute? LAURA: Sure. Come on in. CUT TO: INT. LIVING ROOM - DAY LAURA: His death ht me hard. Much harder than I imagined. GIBBS: Given the tone of your divorce proceeding, I would guess much harder than anyone imagined. LAURA: I may not have been in love with Timmy anymore, but I still loved him. GIBBS: Is that why you hired a Haitian priest to put a curse on him? LAURA: I see you've been talking to Lieutenant Wallace. KATE: Is it true? LAURA: I told him that but it wasn't true. GIBBS: Why tell him that then? LAURA: Jimmy's lawyers were playing hardball. It was gamesmanship on my part. KATE: When you were together, did you get along? LAURA: (LAUGHINGLY) We fought like cats and dogs from day one. It was part of the appeal. There was always a certain energy, a certain juice between us. KATE: What went wrong? LAURA: We grew apart. I know it sounds like a cliché, but that's what happened. It got to a point where Jimmy would rather spend time out back in his woodshop than with me. GIBBS: Did anyone else fill the void? LAURA: If you're asking me if I had an affair, the answer is no. Can we cut to the chase? GIBBS: Yeah. By all means. LAURA: I've read enough books, watched enough T.V. to know that when a husband is klled under suspicious circumstances, the wife is the first suspect. So please don't feel like you need to bat around the bush. Ask me what you came to ask me. I have nothing to hide. GIBBS: Did you kll your husband? LAURA: No, I didn't. KATE: Where were you yesterday afternoon? LAURA: Oh, I had a half dozen errands to run; dry cleaners, bank, supermarket, hardware store. I can give you a list with the approximate times. GIBBS: Would you be willing to give us a DNA sample? LAURA: Absolutely. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: I thought I was going mad. The two autopsies were nearly identical. It was déja vu all over again. TONY: Hey, that's a Yogi Berra quote. KATE: The cartoon character? TONY: Not Yogi Bear, Yogi Berra. KATE: Well, judging by your reaction, he's either a sports person or a bouncer at a strip club. TONY: Gentlemen's club. GIBBS: This autopsy give us anything the other one didn't? DUCKY: Uh...the bllet was in better shape. And I noticed something peculiar in his nose so I did a swab. GIBBS: A swab, Duck? Kind of old school, isn't it? DUCKY: Oh, I just go where the evidence takes me. I recall a case in my early career, before we had the benefit of all this marvelous technology. A young man, barely twenty years old, he had jelly from a donut on his face... GIBBS: Ducky? DUCKY: Yes? GIBBS: What did you find in his nose? DUCKY: Uh... cellulosic fiber, lignin... GIBBS: Wood. DUCKY: Well, sawdust to be precise. TONY: Hey boss, don't you have some kind of weird thing about women and sawdust? I don't think it's weird. DUCKY: Laura Seeger said that her husband had a wood shop out back. GIBBS: Yeah, well she also said he hadn't used it in a month. I mean, it wouldn't still be there in his nose after a month, would it, Ducky? DUCKY: No, that was recent. TONY: Well, he could've been woodworking somewhere else. GIBBS: Yeah, he could've. DUCKY: Something else showed up on the swab. A dog's hair. KATE: Laura Seeger had two dogs in the back. But she seems to have a solid alibi. GIBBS: One of her errands was to the bank. Charlie could get us the surveillance tapes. They'd all be timed stamped. KATE: Yeah, but if she was guilty, why would she just offer up her DNA so freely? GIBBS: Because she didn't know we had something to match it to. CUT TO: INT. BALLISTICS LAB - DAY (ABBY SHOUTS) ABBY: Oh, Gibbs! Didn't your momma teach you not to sneak up on people? GIBBS: Obviously not. ABBY: An ex-boyfriend snuck up on me once, and he was walking funny for a week. Or should I say, funnier. GIBBS: What do you got for me, Ab? ABBY: If it's what I think it is, something is going to rock your world. GIBBS: Well, don't keep me in suspense. ABBY: I just need a minute and... ha! GIBBS: That's a match. ABBY: That's right. Ranger Talon. GIBBS: This was supposed to rock my world? ABBY: Pay attention, class. The left bllet Ducky pulled from Commander Wade Julius. The right bllet was recovered not from David Truly, the victim from two counties over, but from victim number three, Lieutenant Seeger. Now would anyone like to tell the class what this means? CUT TO: INT. NCIS SQUAD ROOM - DAY TONY: There wasn't a copycat mrder? GIBBS: No. All three were committed by the same person. ABBY: We matched the bllts from Julius to Seeger. TONY: Wait, that doesn't make any sense. Why was Seeger klled somewhere else and then dumped if he wasn't a copycat? KATE: Do you think Laura Seeger could have randomly klled two people to make it look like a serial kller in order to cover up klling her husband? GIBBS: Yeah. Two. Or three. KATE: You think she'd kll again to keep up the serial kller ruse? GIBBS: Yeah, sure. ABBY: That's so cold. TONY: Ice cold. GIBBS: How are we doing on the DNA sample? ABBY: I just got it two hours ago. GIBBS: And? ABBY: And you can't rush science, Gibbs. You can yell at it and scream at it, but you can't rush it. GIBBS: How long until you have something, Abby? ABBY: Bare minimum - eighteen hours. CUT TO: INT. SQUAD ROOM - DAY SHERIFF DUPRAY: All right, let's get this party started. They had two different cameras in the main lobby. I figured you might be able to doctor one, but not both. GIBBS: Have you looked at 'em? SHERIFF DUPRAY: I can't watch movies alone. I stopped by Blockbuster in case those are boring. Got "Sleepless in Seattle." GIBBS: Well, let's see if Laura Seeger's alibi holds up. Yep --(VIDEO PLAYS) SHERIFF DUPRAY: Is that her? GIBBS: Yep. SHERIFF DUPRAY: I don't like her shoes. GIBBS: Two thirty three, p.m. KATE: Ducky said the time of death was what, between two and three? GIBBS: She's in the bank right in the middle of it. It's exactly when she says she was there. SHERIFF DUPRAY: Guess that means she's got an alibi. She couldn't have gotten from the bank to the mrder site that quickly. No way she could be our kller. (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - DAY KATE: Obviously, Laura Seeger couldn't have done it. TONY: Two different angles, both of them lock. She entered the bank at two thirty three p.m. She left at two forty p.m. GIBBS: Only one thing we can do. Go over everything again from the beginning. SHERIFF DUPRAY: Like my daddy always said, every path has its puddles. GIBBS: Do you know what kind of video system the bank uses? SHERIFF DUPRAY: No, why? GIBBS: Because if it's a central system, all the time stamps would be the same. You'd just have to change one. KATE: You think she had somebody inside the bank? GIBBS: How hard is it for an attractive woman to get a guy to do what she wants? KATE: Oh, that's easy! SHERIFF DUPRAY: (OVERLAP) Oh, it happens everyday! TONY: Wait... that was a rhetorical question. GIBBS: Charlie, can you check out the bank for me? SHERIFF DUPRAY: Yeah, Sir. GIBBS: We also need to re-verify all the stops she made when she was running her errands. SHERIFF DUPRAY: Now that one's going to cost you. GIBBS: We need to find the mrder wapon and tie it to Seeger. TONY: Yeah. I checked the federal registry, I checked gn purchase records in the surrounding five states. GIBBS: Well then check ten! Get me a sales receipt on the amo. Ranger Talon is an uncommon bllet. KATE: I'll do a full background on her. GIBBS: Start with her parents and work forward until today. (bat) What are you waiting for? SHERIFF DUPRAY: You finished with these tapes? GIBBS: I want to show them to Abby, see if the shadows are consistent with the time stamps. SHERIFF DUPRAY: I'll tell ya, Jethro, I'd hate to be on the wrong side of the law with you. CUT TO: EXT. SEEGER HOUSE - DAY (KNOCK ON DOOR) (DOOR OPENS) LAURA: Special Agent Gibbs. This must be the follow-up visit where you have a few more questions. GIBBS: Can I come in? LAURA: Of course. CUT TO: INT. LIVING ROOM - DAY (DOOR CLOSES) GIBBS: We ran down all your errands. LAURA: Any problems? GIBBS: Nope. No, in fact, if anything it was a little too neat. LAURA: Look around. It's pretty spotless, huh? One of my qualities, for better or worse, is that I'm very organized. Of course, Jimmy had another word for it. GIBBS: Oh, I'm sure he did. LAURA: It would make him mental. Jimmy was the kind of guy who would walk into a room, drop whatever he was carrying, and then leave a trail of clothes leading to the kitchen. GIBBS: Is that one of the things you fought about? LAURA: It's one of the many. GIBBS: We did an autopsy on your husband. LAURA: I assume that's standard. GIBBS: Mm-hmm. Yeah, it is. What we found wasn't. LAURA: Do you want me to guess? GIBBS: We found something unusual in his nose. We did a swab. We found two things: sawdust and dog hair. LAURA: Okay. GIBBS: You have a wood shop out back, right? LAURA: Yeah, I told you that. GIBBS: And from the sound of it a dog or two? LAURA: Oh! You think Jimmy was here recently, even though I told you he hadn't been here in a month. GIBBS: You can see why. LAURA: I can. (bat) How did I do? GIBBS: What do you mean? LAURA: You obviously told me that to see my reaction. Look, as I said before, I have nothing to hide. I didn't kll my husband. I gave you my DNA. I don't know what more you want from me. That should be enough to clear me, shouldn't it? Unless... unless you have nothing to match it to and asking me was another test. CUT TO: INT. SQUAD ROOM - DAY TONY: For a Naval flyer, Jimmy Seeger had a lot of cash. KATE: He inherited it from his grandfather. TONY: No kidding? You know what my grandfather left me? KATE: His button collection? TONY: I wish. My cousin Petey got that. I got a thousand shares of stock in a dot-com company. KATE: Well, that's more than Laura Seeger would have gotten out of her divorce. She signed a lopsided pre-nup. TONY: Well, I guess if he died before they were divorced, the pre-nup wouldn't have mattered. KATE: It sounds like a motive to me. TONY: How did Seeger's grandfather make his money? KATE: Imported Swiss Army Knives. TONY: Oh, I love everything Swiss; knives, cheese, the Alps. I even like Abba. KATE: Abba's Swedish. TONY: I don't think so. (TO GIBBS) Hey boss. Did she crack under the pressure? (bat) I take that as a no. CUT TO: INT. NCIS LAB - DAY (MUSIC PLAYS B.G.) GIBBS: I got your nine one one, Abs. What's up? ABBY: Are you ready to have your world rocked again? GIBBS: I'm barely over the first time. ABBY: I ran Laura Seeger's DNA swab and I got the DNA results back from the urine sample taken at the first crime scene. GIBBS: And? ABBY: How about a drum roll? GIBBS: Abby? ABBY: Okay, forget the drum roll. Although it would have been nice. GIBBS: Hey! ABBY: The DNA matched. GIBBS: Laura Seeger has an ironclad alibi. ABBY: I know. GIBBS: How is it possible they could match? ABBY: They can't, but they do. CUT TO: INT. SEEGER HOUSE - NIGHT (KNOCK ON DOOR) (DOOR OPENS) GIBBS: We've got a warrant to search your house. LAURA: I don't understand. You said that my alibi checked out. GIBBS: It did... for the mrder of your husband. TONY: This warrant is based on the mrder of David Truly. (DOOR CLOSES) LAURA: I don't even know who that is! SHERIFF DUPRAY: David Truly was klled on U.S. Highway Fifty Eight. Your DNA was found at the crime scene. LAURA: That's impossible. KATE: Not according to the lab results. LAURA: What DNA did you find? TONY: Well, it seems that while you were waiting for a car to come along, you had to answer nature's call. LAURA: Women don't urinate on the side of the road! Do they, Agent Todd? KATE: I don't. LAURA: Someone's setting me up. TONY: So you're saying that someone stole your urine while you weren't looking? LAURA: Yes! TONY: And how exactly would they do that? LAURA: I've given two urine samples in the last month at Oceana Base Clinic. Once for my annual physical and once because Jimmy's lawyers accused me of using drugs. KATE: You know that's easy to check out. LAURA: Check it out. I want you to. GIBBS: Who's your doctor? LAURA: Commander Margaret Green. CUT TO: INT. CLINIC - DAY GIBBS: You neglected to tell me Lieutenant Seeger had filed a formal grievance against you. GREEN: I didn't think it was germane. GIBBS: A man has been mrder, you had a grudge, and you don't think it was germane?(DOOR CLOSES) GREEN: I'm a professional, Agent Gibbs. I didn't let his compliant color my behavior. GIBBS: Maybe you should have. According to the complaint you were sexually harassing Lieutenant Seeger. GREEN: Lieutenant Seeger and I differed in our interpretation of the events that transpired. GIBBS: What did the review board conclude? GREEN: The hearing hadn't been held. GIBBS: The hearing hadn't been held. Before it could be, Lieutenant Seeger was klled. GREEN: Are you trying to insinuate something, Agent Gibbs? GIBBS: I don't insinuate, Commander. Did you treat Lieutenant Seeger's wife? GREEN: I treat a lot of people's wives. GIBBS: Including Lieutenant Seeger's? GREEN: Including Lieutenant Seeger's. GIBBS: She recently had a physical. GREEN: That's correct. GIBBS: Well, I'd like to see her medical records. GREEN: Only her doctor is privy to those. GIBBS: NCIS has access to all military records. GREEN: His wife isn't military. She's a dependent. GIBBS: Doesn't matter. GREEN: I'll have to check on that. Might take a while. GIBBS: Where were you between two and three p.m. Tuesday. GREEN: At a medical conference. GIBBS: Where? GREEN: D.C. SWISH PAN TO: INT. SQUAD ROOM - DAY TONY: We have two great suspects. KATE: Commander Green because of the complaint filed against her which would thrat her pension and her future with the Navy. TONY: Laura Seeger who'd get diddly if her divorce went through. KATE: Green was in D.C. with witnesses. TONY: Seeger was in the bank on video. KATE: How could our two great suspects both have ironclad alibis? TONY: I don't know. Only one of them had DNA at the crime scene. KATE: Well, if you believe Laura Seeger, then someone planted it. TONY: Green had access to her DNA. She could easily have done it. (PHONE RINGS B.G.) TONY: I'd put my money on her. The whole sexual harassment thing... that's just wrong. (KATE HANGS UP PHONE) KATE: That was Arlene in records. I think I just got the answer to the mystery. MUSICAL BRIDGE TO: INT. CAR - NIGHT DISPATCHER: (V.O./FILTERED) Special Agent Gibbs, this is Onstar. The vehicle you are tracking is parked on Owl Creek Bridge. GIBBS: Roger. You copy that, Charlie? SHERIFF DUPRAY: (V.O./FILTERED) Owl Creek Bridge. Copy. TONY: Hey boss, we made our pickup. Let's hope we get there before someone else does. CUT TO: EXT. BRIDGE - NIGHT (SFX: CAR BRAKES TO A STOP) (SFX: CAR DOOR OPENS/CLOSES) GIBBS: Keep your hands where I can see them! (DOOR OPENS) GIBBS: Step out of the car! Step away! (DOOR CLOSES) GIBBS: Hands behind your back! Interlace your fingers. Thumbs up. (SFX: POLICE CAR BRAKES TO A STOP) (MUSIC OVER ACTION/TWIN WALKS TO THE CAR) (DOOR CLOSES) TONY: (V.O.) Twins. CUT TO: INT. SQUAD ROOM - DAY TONY: The holy grail of dating. KATE: Where do you come up with this stuff? TONY: Although, twins that kll... not good. KATE: I just can't imagine klling someone for your sister. I would never kll for my sister. TONY: Yeah, you barely return her calls. GIBBS: Identical twins, identical DNA, identical mrder. One for the books. TONY: I'll bet Laura was splitting Swiss Arm Knfe money with Linda, that's why Linda klled her sister's husband. REPORTER: (ON TV)...Sheriff Dupray's statement... KATE: There's Charlie. SHERIFF DUPRAY: (ON TV) Thank you all for coming. Before I take your questions, there is a group of people that I want to thank. TONY: Oh, we're finally going to get some credit. SHERIFF DUPRAY: (ON TV) They're sort of the unsung heroes in all of this. KATE: Not when you start singing. SHERIFF DUPRAY: (ON TV) I would like to express my deepest gratitude to the citizens of Grayson County, for putting their faith in me. I couldn't have solved this triple m*rder without your support. Now I'll take your questions. (REPORTERS ALL SHOUT) SHERIFF DUPRAY: (ON TV) Man in the second row. Go ahead, doll. (REPORTER AND SHERIFF TALK B.G.) GIBBS: It's an election year. (MUSIC OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x14 - The Good Samaritan"}	foreverdreaming
BLACK SCREEN GUARD ONE: (V.O.) On your knees! (LIGHT CLICKS ON) INT. INTERROGATION CHAMBER - NIGHT INTERROGATOR: (V.O.) Colonel Ryan, where is our money? RYAN: Where you bastards will never find it. INTERROGATOR: (V.O.) I wouldn't count on that. RYAN: How long do you think you can keep this thing a secret? If I found out, so will others. INTERROGATOR: (V.O.) Then it's a good thing we're in Iraq. People like you get klled here all the time. RYAN: Maybe you're the one who shouldn't count on that. INTERROGATOR: (V.O.) If you're referring to the Marines you were traveling with, they're dad. We also intercepted the three packages you attempted to mail stateside. It's over. RYAN: Then at least tell me why. INTERROGATOR: (V.O.) We all have our orders. Unfortunately for you, we kll anyone who learns about ours. RYAN: Well, I was kind of hoping for a little more than that. (MUSIC OVER ACTION/RYAN attcks THE GUARDS) INTERROGATOR: Don't just stand there! sht him! CAMERON: Sir! It's clear all the way back to the entrance. RYAN: By the way, it was four packages, not three. (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES / CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "ENIGMA" TONY: This is my favorite part of the day. Oh Debbie, and Lisa, Lisa, Lisa. KATE: Since when did you start giving women your work address? TONY: Oh, since I broke up with Michelle. KATE: The social worker? TONY: Yeah, we had a little misunderstanding. KATE: Like what? TONY: Well, she was under the impression that we were in an exclusive relationship. KATE: Imagine that! So what happened? TONY: She broke into my apartment and filled my closet with dog crap. (KATE LAUGHS) KATE: Really? I knew there was a reason I liked her. TONY: I still have her number. Maybe you two could get together and boil rabbits or something. KATE: Not my style, Tony. I would just sht you. GIBBS: And that would be the reason for rule number twelve. KATE: Rule twelve? GIBBS: Never date a co-worker. Come on. The director wants to see us. Now! CUT TO: INT. MTAC ROOM - DAY MORROW: Three weeks ago a Marine officer transporting two million dollars of Saddam Hussein's cash was ambushed in Iraq. His driver was found dad on the scene. The officer and the cash were MIA. The officer was Colonel Lou Ryan, Agent Gibbs. GIBBS: What? MORROW: The FBI sent this footage of the main terminal at Washington Dulles Airport. Two days ago he was spotted re-entering the country under an assumed name. The question is why. KATE: Some kind of classified op, Sir? MORROW: Well, if it is, no one at the Pentagon knows anything about it, Agent Todd. The FBI believes he may have staged the ambush and taken the money for himself. GIBBS: That's not possible, Sir. If he's back in the States, I guarantee he's got a damn good reason. MORROW: If so, it's what I'm looking forward to hearing. You need to find him and bring him in. If he's turned on us, it could compromise half our operations in Iraq. GIBBS: The Colonel would rather die than betray our country, Sir. MORROW: Oh let's hope it doesn't come to that. As of today, he just made the FBI's most wanted list. CUT TO: INT. LAB - DAY ABBY: (V.O.) He's kind of cute. TONY: So you're into older guys, Abby? ABBY: Sure. Dating older is a sign of maturity. TONY: Oh. What's the oldest you've gone? ABBY: Sixty five. My biology professor. You? TONY: Twenty six. My dry cleaner. ABBY: Ha ha. I rest my case. GIBBS: What do you got, Abs? ABBY: This is from the airport surveillance video. It looks like Colonel Ryan is talking to someone, but I can't tell who. GIBBS: Pull all the airport tapes that match our time frame. ABBY: I'm already on it. GIBBS: Tony? TONY: Ah, yeah. What's left of Colonel Ryan's Hummer was shipped back to Camp Lejeune last week, I can have it here tomorrow. GIBBS: His personal effects? TONY: Yeah, I'm checking on that. GIBBS: Meaning you forgot. Excellent work, Abs. (GIBBS WALKS O.S.) ABBY: I just realized something. TONY: Gibbs never gives me any compliments? ABBY: No. Maybe it's not that you're dating younger women but that they're dating an older man. CUT TO: INT. SQUAD ROOM - DAY KATE: What's SERE school? TONY: Survival, Evasion, Resistance and Escape. Why? KATE: Ryan served as an instructor there for three years. His O.Q.R. reads like something out of Soldier of Fortune. (TONY SHAKES THE BOX) TONY: What do you think is in here? KATE: Probably some part for his boat. TONY: No, I don't think so. The postage is from overseas. (TONY SHAKES THE BOX) KATE: Tony. TONY: He's standing right behind me, isn't he? (TO GIBBS) Do you want me to open this for you, boss? GIBBS: No. TONY: Ah, the Colonel's personal effects are en route from Iraq. They'll be here in forty-eight hours. GIBBS: Anything interesting in his jacket, Kate? KATE: Iraq hasn't caught up with his records yet, but judging by his background, he won't be easy to find. GIBBS: Unless you happen to know the man. I have a pretty good idea where to look. KATE: Where? GIBBS: Check the sedan out of the motor pool. I'll tell you on the way. (KATE AND TONY WALK O.S.) (MUSIC OVER ACTION/GIBBS OPENS THE BOX) ON NOTE: MILLIONS BEING SMUGGLED OUT OF IRAQ. USED TO FUND COVERT OPERATIONS OUTSIDE MILITARY AND GOVERNMENT OVERSIGHT. I'LL CONTACT WHEN I KNOW MORE. ON FLASK: TO LIEUTENANT COLONEL W.D. RYAN "SEMPER FI" gn SERGEANT L.J. GIBBS 1991 CUT TO: EXT. CABIN - DAY (CAR BRAKES TO A STOP/CAR DOORS OPEN/CLOSE) GIBBS: Anytime the Colonel took leave, he'd come here. KATE: Not exactly my idea of a vacation. GIBBS: You should see it in the summertime. KATE: Do all Marines build boats? TONY: Just the ones that have been married a few times. KATE: Why's that? TONY: The other ones can afford to buy one.(MUSIC OVER ACTION/GIBBS RUSHES TO THE CABIN) (GIBBS KICKS IN THE FRONT DOOR) (MUSIC OVER ACTION) CUT TO: INT. BEDROOM - DAY (SFX: DOOR BURSTS OPEN) TONY: Clear! KATE: We've got a body in here. TONY: Blood's not fully clotted. This is recent - three, maybe four hours. KATE: It looks like your Colonel was interrogating this guy. TONY: Guess he didn't like what he had to say. GIBBS: Colonel Ryan didn't do this. KATE: How can you tell? GIBBS: Somebody stormed this place. He wouldn't sh*t the lock off his own door. TONY: Any idea who, boss? GIBBS: Not yet.(GIBBS WALKS O.S.) KATE: Do you think he knows more than he's telling us? TONY: Come on, Kate, this is Gibbs we're talking about. Of course he does. CUT TO: INT. MAIN ROOM - DAY GIBBS: (INTO PHONE) No, that's right. We need the MCRT vehicle and the M.E. Oh, yeah, and I'm also going to need a dog. Well then find me one. Right. We'll be here. (SHOUTS) DiNozzo! What do you make of this? TONY: Ooh. So you think it's Ryan that's wounded? That makes sense if he was in the bedroom when his company arrived. They blast the lock. Ryan pops out of the bedroom. He starts to run, takes a ht, and keeps on going out the back door. KATE: That still doesn't explain our body in there. Either he was already here or your sh*t stopped to tie him in the chair. GIBBS: (OVERLAP) Do you hear that? KATE: Hear what? GIBBS: Sounds like a... like a beeper. TONY: It's probably the guy's watch. KATE: I checked his wrists, Tony. He wasn't wearing one. (SFX: LOUDER BEEP TONES) (GIBBS LOOKS UNDER THE BED) CUT TO: EXT. CABIN - DAY (MUSIC OVER ACTION/GIBBS/ KATE AND TONY RUN FROM THE CABIN) TONY: (SHOUTS) Yah! Yah! (GIBBS/ KATE AND TONY LEAP OVER THE CAR/HIDE BEHIND THE CAR) TONY: Are you sure it was a bmb, Gibbs? GIBBS: Yes, DiNozzo! For the last time yes, I'm sure it was a bmb. TONY: If you say so. D.O.D. is sure taking their sweet time getting here. (SFX: VAN BRAKES TO A STOP/ DOORS OPEN/CLOSE) DUCKY: Sorry we're late. Gerald got us lost several times. GERALD: Me?! You had the map. GIBBS: We have our own problems here, Ducky. DUCKY: Yeah, I can see that. The FBI take over our crime scene again? KATE: Gibbs thought he saw a bmb. GIBBS: What do you mean thought? KATE: Do I really have to say it? GIBBS: Say what? DUCKY: Yes, Kate. Say what? KATE: You need glasses, Gibbs. Are you happy? (SFX: HUGE explsin) (SFX: DEBRIS DROPS TO THE GROUND) GIBBS: I'm sorry. I didn't quite catch that last part. (MUSIC OUT) FADE IN: INT. AUTOPSY ROOM - NIGHT DUCKY: Oh. Well, I must say you seem to have a remarkably fine set of teeth. TONY: Yeah, for an extra from Pirates of the Caribbean. DUCKY: I heard that was very good. GIBBS: The ride? DUCKY: The movie. KATE: You know, Johnny Depp? (bat) Wow. Tony's right. You really need to get out more, Gibbs. GIBBS: Duck, this is my only link to Colonel Ryan. I need to know who he is. DUCKY: That's understandable, but I'm afraid it's going to take some time. GIBBS: How much? DUCKY: Well, ah... fingerprints are certainly out of the question. It would, of course, be a simple matter to match him to his dental records. Assuming we knew where they were located. GIBBS: We don't. DUCKY: Is there any reason to suppose he was associated with the Armed Forces or a Federal Agency? GIBBS: Possible. DUCKY: Then we can run his DNA. I should be able to get a sample for analysis even from this. Although, I do remember one case in Malaysia. GIBBS: Ducky, how long? DUCKY: Uh... ten days. Perhaps, nine. GIBBS: No. No. That's not good enough. DUCKY: Well, I don't suppose any of you bothered to take his photograph before you ran screaming from the place. TONY: Hey, that was not screaming. That was yelling... loudly. GIBBS: Kate, can you sketch him? KATE: I can try, but I didn't get a really good look at his face. GIBBS: Tony can help you with the recall. Nobody talks about this case unless it's with me. (GIBBS WALKS O.S.) KATE: Ducky? DUCKY: Yeah? KATE: Did you know... Colonel Ryan? DUCKY: Only by reputation. KATE: Which was? DUCKY: Professional. Driven. His work was his life. TONY: So he was pretty much Gibbs? CUT TO: INT. SQUAD ROOM - NIGHT (SFX: CELL PHONE RINGS) GIBBS: (INTO PHONE) Gibbs. Sir, what the hell is going on? (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) RYAN: (V.O.) Did you get my package? GIBBS: (V.O./FILTERED) Yes, Sir. (SCENE CUT) GIBBS: (INTO PHONE) I was also at your cabin. (SCENE CUT) RYAN: (INTO PHONE) Look, gn, I don't have much time. They could be tracing this call. I have to meet with you. GIBBS: (V.O./FILTERED) Considering you just made... (SCENE CUT) GIBBS: (INTO PHONE) ... the FBI's most wanted list, I agree. You need to get to NCIS as fast as possible, Sir. (SCENE CUT) RYAN: (INTO PHONE) Negative. That's the first place they'll try to require me. (SCENE CUT) GIBBS: (INTO PHONE) Who? (SCENE CUT) RYAN: (INTO PHONE) That's kind of what I'm trying to find out, gn. (SCENE CUT) GIBBS: (INTO PHONE) You've got to trust me. We can protect you, Sir. (SCENE CUT) RYAN: (INTO PHONE) They've already tried to kll me twice. I don't intend on giving them another chance. (SCENE CUT) GIBBS: (INTO PHONE) Where, then? (SCENE CUT) RYAN: (INTO PHONE) The bar where you bought that flask. GIBBS: (V.O./FILTERED) When? RYAN: (INTO PHONE) Tonight. Twenty one hundred hours. (SCENE CUT) GIBBS: (INTO PHONE) I'll be there. RYAN: (V.O./FILTERED) Make sure you're not followed. (SCENE CUT) RYAN: (INTO PHONE) I don't know how high this thing goes, but trust no one, gn. (HANGS UP PHONE) (END TELEPHONE INTERCUTS) CAMERON: Do you think he'll show, Sir? RYAN: He'll show, Lieutenant. CAMERON: People change, Sir. How do we know we can trust him? RYAN: Call it a gut feeling. CAMERON: Permission to speak freely? RYAN: When has that ever stopped you? CAMERON: What if you're wrong, Sir? (RYAN TAKES OUT HIS gn) RYAN: There's a first time for everything. CUT TO: INT. SQUAD ROOM - NIGHT (KATE SKETCHES) KATE: Damn it! I'm going to start over.(CRUMPLES THE PAPER) TONY: Oh, god. You're klling me, Kate. Not again. KATE: You think it's easy sketching from memory? I need a break. TONY: I took an art class once. KATE: Let me guess, it involved nude female models? TONY: Yeah, but that wasn't the only reason I took the class. We drew fruits or something, too. KATE: This I've got to see. TONY: I thought you'd never ask. So are you going to take off your clothes or do I just draw you like that? Ha. Kidding. One dad guy coming up. Eyes are always the hardest part for me. KATE: Me, too. TONY: The nose was kind of angular, right? KATE: And flat on the top. TONY: All right. There we go. Done. (KATE LAUGHS) KATE: You are so pathetic. TONY: I never said I passed the class. GIBBS: Done yet, Kate? KATE: Oh. Um... I was drawing and then Tony asked if I uh... you know, I don't think I can sketch him. GIBBS: Yeah, I can see that. I want both of you to start trying to find out who Colonel Ryan was working with in Iraq. Concentrate on anyone responsible for finding or shipping U.S. currency in-country. TONY: Where are you going? GIBBS: Tracking down another lead. TONY: Where? GIBBS: Not here. CUT TO: EXT. STREET - NIGHT (MUSIC OVER ACTION/GIBBS WALKS DOWN THE SIDEWALK) (AGENTS FOLLOW GIBBS) CUT TO: INT. MALL - NIGHT (MUSIC OVER ACTION/GIBBS SELECTS AN UMBRELLA) GIBBS: Thank you. (GIBBS WALKS THROUGH THE DOORS) (MEN BANG ON THE BLOCKED DOORS CUT TO: INT. BAR - NIGHT CAMERON: I don't think Gibbs should know I'm working with you, Sir. RYAN: There was a time when you would have trusted gn Sergeant Gibbs with your life, Lieutenant. CAMERON: What if he's followed, Sir? If we're both compromised, who's left to stop them? RYAN: Okay, we split up but stay close. CAMERON: Always, Sir. (GIBBS WALKS TO THE TABLE) GIBBS: Colonel. RYAN: gn, it's been too long. Here, give an old man a hand up. GIBBS: We need to talk, Sir. RYAN: Let's talk while we play some pool. GIBBS: You're wounded. RYAN: Not badly. GIBBS: I need some answers. RYAN: Yeah, so do I. GIBBS: What happened in Iraq? RYAN: My task force was charged with recovering money Saddam had stashed around the country. We did a damn good job. We found close to thirty million in U.S. currency. GIBBS: A lot of cash. RYAN: A lot of temptation. I started noticing irregularities in the accounting. And when I investigated, strange things started to happen. GIBBS: Like what? RYAN: My reports to higher headquarters would disappear, or be ignored. Shipments would be redirected or cancelled last minute. GIBBS: That still doesn't explain your disappearing act. Why didn't you go directly to CENTCOM? RYAN: Because someone a hell of a lot higher up the chain of command was behind it. I set up a decoy. One vehicle with two million in cash to draw them out and it worked, just not the way I intended. They klled my men and captured me GIBBS: Who? RYAN: The CIA? NSA? Hell, NCIS for all I know. These guys had black ops stamped all over them. They're stealing money to fund something and they're klling anyone who finds out about it. GIBBS: What about the man I found in your cabin? RYAN: Do you have him in custody? GIBBS: He's dad. A bllet in the forehead execution style. RYAN: And you think I klled him? GIBBS: Why don't we start with who he was? RYAN: I was trying to find out. I caught him following me two days ago. GIBBS: How long exactly have you been in the States, Colonel? RYAN: A week and a half. I've stayed one step ahead of them until today when they tried to kll me. GIBBS: We've got to get you to NCIS - get this figured out. RYAN: Have you been listening to me?! These people are on the inside. This could be anyone. GIBBS: With all due respect, it's not a request. We can protect you. RYAN: I'm sorry, gn, but I can't take that chance. Someone has to stop these people. GIBBS: Colonel, you're wounded. You're alone - you look like hell. You're not going to be able to stay one step ahead for very much longer. RYAN: Who says I'm alone? GIBBS: Give me something to work with at least. There was a video tripod in your cabin. Did you tape the interrogation? RYAN: Yes, I did. GIBBS: Get me the tape. RYAN: It was damaged when they sht my place up. GIBBS: You will be amazed what my people can do with technology. RYAN: If you can fix this, you can prove that I didn't sh*t that man. You might find a sht of the men who attcked me. I'll be in touch. GIBBS: When? RYAN: When I find out more about the people behind this conspiracy. CUT TO: INT. NCIS LAB - NIGHT ABBY: We have a bit of an enigma here, Gibbs. I spent all day scanning tapes from the airport looking for Colonel Ryan. And I mean all day. And guess what? GIBBS: He wasn't on any of them. ABBY: Uh-yeah. GIBBS: Lucky guess. ABBY: Okay, would you like to guess what I found out from the original tapes the FBI sent us? GIBBS: It was from more than two days ago. ABBY: Right. But can you tell me where they were from? GIBBS: A week and a half ago. ABBY: Did I mention that I spent all day doing this? TONY: Do you want to tell us how you knew all this, boss? GIBBS: The FBI lied to us. They've been using us to find Ryan this whole time. (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - DAY KATE: Do you think Colonel Ryan's innocent? TONY: Gibbs seems to think so. KATE: The man disappears from a wr zone with two million dollars. Ends up in the states under an assumed name. What's that tell you? TONY: He leads an interesting life? KATE: What about the dad body we found in his cabin? TONY: Like I said, Gibbs thinks um... KATE: You don't always have to follow his lead, you know. TONY: I don't always follow his lead. KATE: Like when? TONY: Like... remember that girl Michelle I told you about? KATE: The one with the dog? TONY: Yeah. Gibbs met her once, told me to run while I still had the chance. FORNELL: Agent DiNozzo. Agent Todd. KATE: Agent Fornell. Why am I not surprised to see you? FORNELL: For the heck of it, I thought you might enjoy some coffee. KATE: Is this the FBI's idea of an apology? FORNELL: Think of it more as a peace offering. TONY: It's going to take more than your house special blend after the stunt you pulled. FORNELL: I thought as much. Croissant? TONY: It's a start. FORNELL: Where's Gibbs? We have a lot to talk about. GIBBS: You've got that right, Fornell. FORNELL: Do you mind telling me what you were doing in Georgetown last night? GIBBS: Why don't you ask your men? FORNELL: The Colonel's in a lot of trouble, Gibbs. Level with me and I might be able to help. GIBBS: I have a better idea. You level with me and I'll decide if I need your help. FORNELL: No, it's not going to work that way. GIBBS: Tony, Kate, entertain our guests. Agent Fornell and I are going to have a little chat in private. (FORNELL AND GIBBS WALK O.S.) AGENT: I feel sorry for your boss. KATE: And why is that? AGENT: You obviously don't know Fornell very well. KATE: We've worked with him before. TONY: We just don't particularly like him. AGENT: So you do know him. CUT TO: INT. ELEVATOR - DAY (SFX: ELEVATOR DOORS CLOSE) (SFX: ELEVATOR STOPS) GIBBS: Tobias, you lied to me. FORNELL: Don't take it personally. I'd lie to my own mother if I thought it'd help solve a case. GIBBS: Are you going to lie to me now? FORNELL: That depends on what you were doing in Georgetown last night. GIBBS: Colonel Ryan is not a thief. FORNELL: I don't really care one way or the other. My job is to find him. GIBBS: Then that's a problem because I do care. FORNELL: I know you and Ryan served together. I can appreciate that. But innocent people usually don't run. GIBBS: They do if someone's trying to kll them. FORNELL: And just who is it that's trying to kll him? GIBBS: At this point? Maybe you. FORNELL: Come on, Gibbs. (SFX: ELEVATOR STARTS) GIBBS: You had to know we'd check the tape and figure out that it's more than two days old. FORNELL: Sure. I just didn't think you'd get it done that fast. (SFX: ELEVATOR STOPS) GIBBS: What changed? Why the rush to find him right now? FORNELL: One of my men disappeared two days ago, just after he reported sighting the Colonel. GIBBS: Oh. And you put me on the trail and hoped that I'd lead you right to him. FORNELL: If it was your man, are you telling me you wouldn't do the same? (SFX: ELEVATOR STARTS) GIBBS: Next time just ask for our help. FORNELL: You don't exactly have a reputation for playing well with others, Gibbs. GIBBS: Well, maybe I might have been able to help save him. FORNELL: What do you mean save him? CUT TO: INT. AUTOPSY LAB - DAY AGENT: He was getting married next month. FORNELL: We don't know it's Agent Carlson yet. DUCKY: I'm sorry but I'm afraid it is. The dental records are conclusive. Our John Doe is your missing agent. FORNELL: Now your Colonel is a mrder. RYAN: Colonel Ryan didn't do this. FORNELL: And how could you possibly know that? KATE: There was evidence of a break in and a gn battle at his cabin. AGENT: We need to see it. TONY: So do we. Unfortunately it was incinerated in the explsin. AGENT: That's pretty convenient. KATE: Hey, all this started because you people lied to us. FORNELL: Agent Todd, if Ryan's innocent, how did my men end up handcuffed to this cabinet in the first place? GIBBS: I'll get you your evidence. FORNELL: How? GIBBS: Any way I can. (GIBBS WALKS O.S.) AGENT: Your boss is playing a dangerous game. TONY: He doesn't play games. FORNELL: Well neither do we. If I find Gibbs is helping Ryan, I'll have him charged as an accessory to mrder. Let's go. (FORNELL AND AGENTS WALK O.S.) KATE: He's right. We have to do something. TONY: Like what? Gibbs obviously doesn't trust us enough to tell us what's going on. DUCKY: You don't honestly believe that, do you? Don't you see? Gibbs is doing his very best to protect you. TONY: From what? DUCKY: From being accessories yourselves. He's willing to risk his own life and reputation for a friend, but he's not going to risk yours. KATE: So what do we do, Ducky? DUCKY: You let him know that he's not alone in his conviction. CUT TO: INT. WAREHOUSE - NIGHT (SFX: ELEVATOR DOORS SLIDE OPEN) GIBBS: Abby? ABBY: (V.O.) Hey Gibbs. GIBBS: What did you want to see me about? ABBY: I'm retesting Colonel Ryan's vehicle to make sure, but I don't think this damage came from an Iraqi wapon system. GIBBS: What then? ABBY: Well, the chemical signatures are matched to an American AT-Four. It's a light anti-tnk wapon. It looks like friendly fre. GIBBS: I don't know if friendly had anything to do with it. Thanks, Abs. ABBY: Uh... Gibbs? GIBBS: Hmm? ABBY: Actually, we asked you to come down here for another reason. GIBBS: We? KATE: She means us. TONY: We need to talk to you, boss. GIBBS: About what? KATE: About what you're not telling us. TONY: We know you made contact with Colonel Ryan. KATE: Tony lifted your cell phone while you were charging it today. You received a phone call last night around nineteen hundred from a bar payphone in Georgetown, McPhinley's Pub. GIBBS: You lifted my cell phone? TONY: Borrowed. But uh... we showed your photo and Ryan's to the bartender this afternoon... KATE: He remembered seeing the both of you between twenty one hundred and twenty one thirty. ABBY: Which explains why you knew Ryan had been in the country more than two days. GIBBS: You borrowed my cell phone?! KATE: Look, we understand the situation and we just want to help. TONY: We can't back your play if we don't know what it is. GIBBS: Let me get this straight. What you're saying is you stole my cell phone. TONY: I think next time we can skip the cell phone part, Kate. GIBBS: This tape could prove that Colonel Ryan did not kll Fornell's agent. Do you think you can find out what's on that for me? ABBY: All you had to do was ask, Gibbs. GIBBS: Okay. Okay, I will try to remember that for next time. (DOORS SLIDE OPEN) GIBBS: Tony, touch my cell phone again, I'll break your fingers. (DOORS SLIDE SHUT) KATE: You know, he really does like you. CUT TO: INT. LABORATORY - DAY FBI AGENT: (ON TAPE) I don't know anything about a conspiracy. I told you. I'm an FBI agent. I've never even been to Iraq. RYAN: (ON TAPE) What about you, Lieutenant Cameron. Do you believe him? Neither do I. FBI AGENT: (ON TAPE) Who the hell are you? RYAN: (SHOUTS ON TAPE) We're asking the questions! What is the money being used for?! Who is running your unit? (SFX: explsin B.G.) RYAN: (ON TAPE) Josh, grab the camera! ABBY: The end of the tape received the most damage. I haven't been able to pull much info from it. The video processing lab would probably have better luck. GIBBS: I'd like to keep this in-house. See what you can do. TONY: Anyone catch a glimpse of the person he was talking to off camera? KATE: No, but he called him Lieutenant Cameron. Did you ever hear of him, Gibbs? GIBBS: The Colonel and I used to work with a Lieutenant Cameron. TONY: Do you think it's him? GIBBS: Nope. TONY: Why not? GIBBS: Because he died fourteen years ago. TONY: Was there anyone in the bar with him last night? GIBBS: Not that I could tell. Kate, run down every Cameron you can find in the Pentagon database. KATE: You got it. GIBBS: Abby, you and Tony transfer out the tape. I had a tough time following his line of questioning. TONY: Where are you going? GIBBS: Home. To think. CUT TO: INT. BASEMENT - NIGHT (MUSIC OVER GIBBS LOOKING AT THE FLASKS) (GIBBS DRAWS HIS gn) RYAN: There's no need for that, gn. GIBBS: You're not looking too good, Sir. RYAN: Looks can be deceiving. GIBBS: I watched the tape. The man following you is FBI. RYAN: Now you know what I'm up against. I told you, they're everywhere. GIBBS: Who are you talking to off camera? RYAN: You didn't recognize his voice? GIBBS: Whose voice? RYAN: Your company X.O. GIBBS: You're working with Lieutenant Cameron? RYAN: Just like old times, gn. GIBBS: Sir, Lieutenant Cameron is dad. RYAN: Yeah. Yeah, I thought so too. This group has been active since Desert Storm. They tried to recruit him but he fooled them. GIBBS: He died in my arms, Sir. You were standing right there. RYAN: You saw what they wanted us to see. When are you going to get it? GIBBS: I get it. You need help. I'm taking you in, Sir. RYAN: Put the gn down. GIBBS: No. No, I can't do that! RYAN: It was the second place I looked. I know it's a shock, Jethro, but maybe you'll believe your own eyes. Lieutenant? CAMERON: He doesn't look happy to see me, Colonel. (MUSIC OUT) FADE IN: INT. BASEMENT - DAY RYAN: This proof has been influencing national policy for years, gn, the bad intel we were fed on Iraq, the breakdown on the info prior to Nine Eleven. GIBBS: Lieutenant Cameron was working with them? CAMERON: More like infiltrating. RYAN: It's part of a small cell. We've been trying to trace the organization and find out who's at the top. GIBBS: Well, then we need help. We should go to my office. CAMERON: Negative! RYAN: They'd kll us before we even got close to the building. CAMERON: The way I see it, Colonel, we're a little gn here. RYAN: Well, we've made some preparations. GIBBS: What kind? RYAN: Oh, you'd be amazed at what you can get your hands on these days. GIBBS: Is that why you needed the two million you took from Iraq? RYAN: What makes you think we have it? GIBBS: They tore your cabin apart looking for something. RYAN: Then they must have been pretty upset when they didn't find it. GIBBS: Well, yeah. Yeah, they were. They blew it up. Where's the money? CAMERON: Some place safe. RYAN: We need to tell him. CAMERON: I don't know, Sir. What if he doesn't believe us? GIBBS: Colonel, look, you contacted me. You want my help, you have to level with me. RYAN: No, it's not that we don't trust you, gn. The question is, are you prepared to believe it? CUT TO: INT. SQUAD ROOM - DAY TONY: Gibbs is two hours late. KATE: And he's not answering his cell. Should we swing by his house? FORNELL: No need. I've already been there. TONY: Did you order coffee, Kate? FORNELL: Your boss has crossed the line. KATE: We'll be sure to let him know the next time we see him. FORNELL: If I were you, I'd start looking. TONY: Why is that? FORNELL: Because this is a warrant for his arrest. CUT TO: INT. WAREHOUSE - DAY RYAN: The perfect base of operations. It's in my aunt's name. Nobody's used it for years. GIBBS: Base for what? RYAN: To fight a wr. They're not the only ones who know how to smuggle things out of Iraq. GIBBS: What exactly are you planning, Colonel? RYAN: I'm planning on exposing them... by force if necessary. GIBBS: What about the missing money? RYAN: Half of it's here, half at another location with the Lieutenant. GIBBS: How long have you known he was still alive? RYAN: Almost two years now. GIBBS: Where is he now? RYAN: He's close. (SFX: TELEPHONE BEEP TONE) RYAN: Whoa. Whoa. Whoa. Who are you calling? GIBBS: I need to contact my team, see if they got any information out of that video tape you gave me. (SFX: TELEPHONE BEEP TONES) (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) TONY: (INTO PHONE) Where the hell are you? Fornell is here with a warrant for your arrest. (SCENE CUT) GIBBS: (INTO PHONE) Well, that's a good thing I'm not there then. (SCENE CUT) TONY: (INTO PHONE) This is serious. He thinks you're with Colonel Ryan. (SCENE CUT) GIBBS: (INTO PHONE) Well, he's smarter than he looks. (V.O./FILTERED) See if you can get Abby to pull (INTO PHONE) whatever she can off that video tape for me. (SCENE CUT) TONY: (INTO PHONE) What are we looking for? GIBBS: (V.O./FILTERED) Anything... (SCENE CUT) TONY: (INTO PHONE) ...that'll prove that Colonel Ryan did not kll that FBI agent. (SCENE CUT) TECHNICIAN: (V.O.) We've got a solid contact. TONY: (V.O./FILTERED) Whatever you do, don't come back here. GIBBS: (V.O./FILTERED) I wasn't planning on it. (SCENE CUT) GIBBS: (INTO PHONE) I'll be in touch. (SCENE CUT) TONY: (INTO PHONE) I just hope you know what you're-- (END TELEPHONE INTERCUTS) CUT TO: INT. VAN - DAY TECHNICIAN: We've got a location. It originated from the warehouse district in Fairfax, Virginia. MAN: All teams stand by to receive intercept orders. FIELD AGENT: (V.O./FILTERED) Roger that. MAN: We got him. CUT TO: INT. NCIS LAB - DAY ABBY: It's not much. Most of the data was corrupt. KATE: For all we know it could be Ryan. TONY: If we're going to get Gibbs out of this, we need more than a shadow puppet, Abby. ABBY: I've been rendering several frames over the past hour, using a modified algorithm I snuck out of NASA on my last visit. It's based on the Mars Global Surveyor's ability to interpolate information from corresponding pixels so you can build a composite. TONY: Today, Abs? ABBY: That is very Gibbs of you, Tony. TONY: Thanks, I've been practicing. ABBY: It looks like we have a face on Mars. KATE: I've seen this guy before. In the files Gibbs had us run down on units responsible for transferring money in Iraq. I think he's a Reserve Army Colonel. Let's roll. (KATE WALKS O.S.) ABBY: Looks like Kate's been practicing too. TONY: Let's just hope we get the real one back when this is over. CUT TO: INT. WAREHOUSE - DAY GIBBS: I need to know what Cameron's been telling you. RYAN: Enough to convince me that they have people in every branch of our government. GIBBS: How do you know you can believe him? RYAN: He saved my life in Iraq. He has no reason to lie. CUT TO: EXT. WAREHOUSE - DAY (VAN BRAKES TO A STOP/UNIFORMED MEN JUMP FROM THE VAN) CUT TO: INT. WAREHOUSE - DAY GIBBS: (INTO PHONE) Yeah.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) KATE: (INTO PHONE) We've got a positive ID on one of the sh*t at the cabin. Reserve Army Colonel Mike Granger. (SCENE CUT) KATE: (V.O./FILTERED) He rotated out of Iraq two weeks ago. GIBBS: (INTO PHONE) To where? (SCENE CUT) KATE: (INTO PHONE) Uh, Virginia. He owns a small business in Fairfax and he's there now. Are you ready to write down the address? (INTERCUT OUTDOOR WAREHOUSE SCENE) (SCENE CUT) GIBBS: Got it.(END TELEPHONE INTERCUTS) GIBBS: I know who's behind your conspiracy. We I.D.ed him off the tape. RYAN: That his address? GIBBS: Yeah, it is. We can pick him up for questioning. RYAN: No, no. You don't cut off conspiracy by taking out foot soldiers. You strike at the head. GIBBS: No, you've got to trust me on this. RYAN: Trust you? Trust you like the Lieutenant trusted you? Or have you forgotten about Lieutenant Cameron? GIBBS: No, Sir! I have not forgotten him. I think about him every night! Have you forgotten him, Sir?! (SFX: DOOR SLIDES OPEN) (VOICE: "Go go go!") (UNIFORMED AGENTS RUSH INTO THE WAREHOUSE) CHARLES: (SHOUTS) It's the FBI! Put your hands in the air! (SFX: gn) GIBBS: (SHOUTS) NCIS!! Cease fre! RYAN: You set me up! GIBBS: Then why are they shting at me?! Stay down and let me do the talking. Hold your fre! NCIS! Cease fre! (RYAN RUNS) VOICE: We've got a runner! (SFX: PROLONGED gn) GIBBS: (SHOUTS) Cease fre!!! Cease fre! Damn it! Stop sh*ting! We need to talk. CHARLES: You're under arrest. GIBBS: For what? CHARLES: For pissing off the FBI. GIBBS: Get used to it. CUT TO: EXT. WAREHOUSE - DAY FORNELL: Give me one reason I don't charge you with aiding and abetting a suspected mrder right now. GIBBS: I know where Colonel Ryan is headed. FORNELL: Where? GIBBS: Your men are trigger-happy, Fornell. Let me bring him in. FORNELL: You're not exactly in a position to be making demands, Gibbs. GIBBS: Do you want him or not? FORNELL: If you screw me on this... GIBBS: I'll consider it a bonus. CUT TO: INT. OFFICE BUILDING - DAY FORNELL: What makes you think he's coming here? GIBBS: Granger tried to kll the Colonel. Your agent got caught in the middle. FORNELL: Your Colonel had enough wapon and explsives in that warehouse to take out half of D.C. How high does he think this conspiracy goes? GIBBS: That's what he's trying to find out. (SFX: WOMAN SCREAMS O.S.) GIBBS: You take a sht at him, you answer to me. FORNELL: I can live with that. CUT TO: INT. GRANGER'S OFFICE - DAY RYAN: This is the last time I'm going to ask. Who are you working for? The CIA? The FBI? GRANGER: For ourselves. RYAN: No! It goes higher than just your greed! GRANGER: We risked our lives bringing down Saddam. Why shouldn't we take a little of his money? (SFX: gn) RYAN: Do you think he'll talk if I blow his kneecap off next, Lieutenant? FORNELL: Who is in there with him? GIBBS: An old friend. Stay here. I'll bring him out. RYAN: Last chance. Who's behind it? GRANGER: The FBI, CIA - whoever you want. Please don't sht me. GIBBS: I wouldn't waste the bllet. (SFX: RYAN HITS GRANGER WITH HIS pstol) CUT TO: INT. HALLWAY - DAY CAMERON: Colonel, I told you we couldn't trust the gn. GIBBS: Put the gn down, Sir. There is no conspiracy. CAMERON: He led them to the warehouse. You can't believe a thing he says, Sir. RYAN: The Lieutenant is right. CAMERON: Thank you, Sir. FORNELL: (SHOUTS) Put the gn down! GIBBS: I told you to wait in the hall. FORNELL: As much as I'd like to, I'm not going to let him sh*t you, Gibbs. (TO RYAN) Drop it now! CAMERON: This whole thing was a set up! RYAN: But why? Why would you do that? I don't understand. GIBBS: Neither did Lieutenant Cameron when he died, Sir. CAMERON: I'm not dad, Sir! I'm right here! RYAN: I can see that, Lieutenant! GIBBS: Lieutenant Cameron bled out in my arms, Sir. I couldn't save him. CAMERON: Shut up, gn! GIBBS: Where is the Lieutenant, Colonel? Is he behind me? CAMERON: I said shut up! (bat) Don't do this to me. Not again. GIBBS: The Lieutenant died a long time ago, Sir. There's a part of you that I know remembers that. RYAN: That's not... no, that's not true. That can't be true. GIBBS: Give me the gn, Colonel. Let me get you some help. Sir? (VISION OF CAMERON SLOWLY DISAPPEARS) GIBBS: Colonel! Colonel! If you want to sht somebody, sht me! Lieutenant Cameron died saving my life! (RYAN COLLAPSES) GIBBS: Colonel. RYAN: (SOBS) I... I don't understand what happened. GIBBS: That's okay. None of us ever do. CUT TO: INT. HOSPITAL ROOM - DAY TOLLIN: Though it's rare for paranoid schizophrenia to strike a man this late in life, it's not unheard of. I'm hoping that with the right medication he can return to a relatively normal life. FORNELL: Just because you're paranoid, doesn't mean people aren't out to get you. KATE: Any idea why he fixated on Lieutenant Cameron, Gibbs? GIBBS: Yeah. Some. (BEGIN AUDIO FLASHBACK SCENE) (SFX: MUFFLED gn B.G.) GIBBS: (V.O./SHOUTS) Corpsman! Hold on, Lieutenant Cameron! You've got to hold on! CAMERON: (V.O.) I can't, g*n. Oh, Colonel, I don't understand... RYAN: (WHISPERS) I don't understand...I don't understand... I don't understand... I don't understand... (FADE TO BLACK) (ENDING CREDITS UP AND OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x15 - Enigma"}	foreverdreaming
FADE IN: INT. AUTOPSY ROOM - NIGHT (ELEVATOR DINGS) (LIGHT CLICKS ON) DUCKY: He's not an American Naval Officer? GERALD: They said he was a Royal Navy Commander. DUCKY: Well, which Royal Navy, Gerald? There are several of them. GERALD: I assume British, Doc. DUCKY: The Swedes, the Norwegians, Aussies, Kiwis, Saudis... they all have Royal Navies. GERALD: Well, the EMT only said that the Embassy told them to bring him to NCIS for autopsy. DUCKY: Which Embassy? GERALD: Israeli. DUCKY: Israeli? GERALD: That's what they said. DUCKY: Hmm. Why on earth would the Israeli Embassy send us a foreign naval officer? GERALD: Well that's what I asked the EMT that delivered the body, but they didn't know either. DUCKY: He calls me down here in the middle of the night, doesn't know which Navy. Gerald, what does this look like? GERALD: Uh... one of my gloves. DUCKY: What's it doing in my drawer? GERALD: I'm sorry, Doc, I must have put your gloves in my drawer. I'll get it. DUCKY: No, I'll do it. Ah, Gerald, unzip that body bag and find out with which Navy our guest sailed. (GERALD UNZIPS THE BAG) DUCKY: Don't recognize the uniform. I'm not surprised. The Royal Navies of the world wear almost identical uniforms. In fact, during World wr Two, British Naval Officers whose ships went down in the channel, passed themselves off in Antwerp as German submariners who... good god. (CUT TO BLACK) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. AUTOPSY ROOM - NIGHT "BETE NOIR" ARI: Shut off the lights.... and return. Is the video camera on?(LIGHTS CLICK OFF) (SFX: gn /GLASS BREAKS GERALD: Sorry, Doc. DUCKY: That's all right, Gerald. I looked at it too. ARI: How do you alert visitors when conducting infectious autopsy? DUCKY: We hang a decomposing body in the corridor. ARI: A sense of humor under duress - that's an admirable quality, Doctor. However, when I ask a question, I want a truthful and immediate answer. So each time you lie, or I suspect you lie, I will put a nine millimeter, hollow point slug into one of your assistant's ball and socket joints. If you doubt me, I can demonstrate. DUCKY: That won't be necessary. May I make a request? ARI: You would rather I put the slug in you? DUCKY: Yes. ARI: I can't oblige. How do you alert people to infectious autopsies? DUCKY: A lit red sign in the corridor. ARI: Gerald, the sign, please. Just a moment. Also lock the doors and bring me a set of greens and breathing gear. DUCKY: What is it you want? ARI: In due time, Doctor...? DUCKY: Mallard. ARI: Like the famous English A-Four steam locomotive. DUCKY: Most people think of waterfowl. ARI: Ah, the Mallard ran from London to Edinburgh for decades. In nineteen thirty eight it attained a speed of over two hundred kilometers an hour. DUCKY: Two hundred and two. ARI: A world record. Although the Germans claimed it was set on a slight downgrade. Typical. CUT TO: INT. NCIS GARAGE - DAY TONY: You never had a nightmare? KATE: Uh-uh. TONY: Not even as a kid? KATE: Nope. No fear of the dark or a boogie man in my closet. TONY: Me either. But the vampire on the canopy of my bed freaked me. KATE: You had a canopy bed? TONY: I was five. My mother was into Louis the Fifteenth. It wasn't my call, Kate. KATE: Does she still frighten you? TONY: My mother? KATE: The vampire. TONY: What makes you think it was a "she?" KATE: Vampires are seducers. Knowing you, Tony, it had to be female. TONY: Well, she was after my blood, not the pride of my childhood. KATE: You were proud at five? (ELEVATOR DOORS SLIDE CLOSED) CUT TO: INT. SQUAD ROOM - DAY TONY: She finished the story, tucked me in, blew out the candles. My mother thought that candlelight enhanced the trompe l'oieil. KATE: Canopy beds, trompe l'oieil, flickering candles. No wonder your bete noir was a vampire. TONY: Bete noir. Cute. KATE: It goes with the Louis the Fifteenth bedroom. So... what would happen? TONY: Forget it. GIBBS: Forget what? KATE: Oh, Tony's bete noir. TONY: Ah, it's French for um... GIBBS: Nightmare? I do crossword puzzles too, DiNozzo. TONY: Actually my mother taught me nightmare in French... GIBBS: Did your father teach you how to report? TONY: Oh, yeah. During cocktail hour, while I was pouring his Macallan eighteen - three fingers, one ice cube - you know, I had to report in about my day at school and just give him sort of a... (bat) We bagged and tagged everything in Qassam's room. There wasn't much there. Koran. Prayer rug. Fast food wrappers. This guy took home from work and didn't empty his trash. He had sinus problems. Bad breath. KATE: Yeah, probably because he didn't brush his teeth. There was no brush or toothpaste in his bathroom. TONY: Just aspirin, sinus spray and breath freshener. GIBBS: Did you swab for explsives. TONY: Yeah. Top to bottom. Found minute traces of nitrate in the dresser table. Probably where he kept his Baretta. GIBBS: Computer? TONY: Not even a Gameboy, boss. KATE: He didn't have a TV, Tony. TONY: Gameboy is handheld, Kate. You're thinking about X-Boxes, PS Twos, GameCubes... GIBBS: I'm thinking of kicking some ass. Gitmo intel said Qassam was to execute a trror1st attck on the Naval base at Norfolk. He's in no shape to tell us how or when... his computer might. KATE: No computer. GIBBS: What about the food court where he worked? TONY: Ah, just a keyboard with pictures. Burgers, malts, fries. Not exactly cyberspace friendly, boss. KATE: Hey, he could have used an internet café. I'll check Little Creek and his neighborhood. GIBBS: I should have thought of that. TONY: Well, you're more - you know, smurf than alpha geek. So am I, according to Agent McGee. GIBBS: You're right, DiNozzo. TONY: I am? GIBBS: Hell, I still use a notebook and a pencil instead of a P-D-Q. TONY: It's P-D-A. You can call it Palm Pilot. GIBBS: It doesn't matter what I call it if I can't use it. TONY: I'll teach you. GIBBS: You'll teach me? McGee teaches you, you teach me. It's backwards! God, I need coffee. KATE: What was that all about? TONY: Gibbs bete noir. CUT TO: INT. AUTOPSY ROOM - DAY (DRAWER SLIDES OPEN) ARI: Right ventricle, left atria. You haven't done the autopsy. DUCKY: It was late. I was due to autopsy today. ARI: Then you best place him on the table. Did you draw blood last night? DUCKY: Yes. ARI: Is it refrigerated here? DUCKY: No. ARI: You sent it with his clothing to forensics? DUCKY: Yes. Are you a pathologist? ARI: Where is the lab? GERALD: One floor up. Directly above us. DUCKY: There's a stairwell outside to the left you can use. ARI: Not the elevator? DUCKY: I assumed you'd think that too risky. ARI: Is it an emergency stairwell? DUCKY: No. That would be alarmed. ARI: Surveillance camera? DUCKY: (bat) Yes. I answered promptly and I haven't lied! ARI: You tried to trick me, Doctor Mallard. DUCKY: That wasn't a condition. ARI: It is now. CUT TO: INT. NCIS LAB - DAY (LOUD MUSIC B.G.) (PHONE RINGS) ABBY: Ducky, you're in early.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) DUCKY: Abby, turn down the babble. (SCENE CUT) ABBY: Babble? You love Android Lust! (SCENE CUT) DUCKY: Not distorted by a speaker phone! (SCENE CUT) ABBY: (INTO PHONE) Ducky, you're such a purist! (SCENE CUT) ABBY: (V.O.) What's up? DUCKY: I need the evidence Gerald delivered last night. (SCENE CUT) ABBY: (INTO PHONE) Oh, good luck. I haven't even had my morning sprinkles yet. (SCENE CUT) DUCKY: I didn't ask for the results. I need it all back, including the blood. (SCENE CUT) ABBY: (INTO PHONE) What are you going to do with the blood? DUCKY: (V.O.) Abby, just get it down here! ABBY: (INTO PHONE) Wow. Did you get up on the wrong side of the autopsy table? (SCENE CUT) DUCKY: Sorry. I have a theory to test. ABBY: (V.O./FILTERED) Want to share? DUCKY: Not quite yet. (SCENE CUT) ABBY: (INTO PHONE) Okay. Send Gerald up. (SCENE CUT) DUCKY: He's busy. (SCENE CUT) DUCKY: (V.O.) You'll have to bring it down here. (INTERCUT AUTOPSY SCENE) ABBY: (INTO PHONE) Ducky, you know I can't do that. (SCENE CUT) DUCKY: Abby, I don't have time to deal with your necrophobia. (SCENE CUT) ABBY: (INTO PHONE) I am not necrophobic. dad bodies don't freak me out. Autopsy does. (SCENE CUT) ABBY: (V.O.) Ducky, please don't ask me to do this. DUCKY: You won't have to enter Autopsy. In fact, you can't. We've opened an infectious body. (SCENE CUT) DUCKY: (V.O.) Leave it at the door. ABBY: (INTO PHONE) I can't even press the down button on the elevator any more! (SCENE CUT) DUCKY: Get Gibbs to do it. STAT!(END TELEPHONE INTERCUTS) ARI: Am I to believe that? DUCKY: Well Abby, who is unfazed by the most gruesome of forensics, recently had a nightmare. Since then, she has not set foot in autopsy. ARI: Gerald, is that true? GERALD: She hasn't been down for quite a while. ARI: A code word could have triggered that absurd conversation. DUCKY: Abby and I are not special agents. We're forensic scientists. We do not use code words. Surely you understand the power of phobias? ARI: Butterflies. DUCKY: Sorry. ARI: I fear butterflies. DUCKY: Good. Well, not good that you have a phobia, but good that you understand that not a word I said was coded to alert Abby. ARI: Who is Gibbs? (MUSIC OUT) FADE IN: INT. AUTOPSY ROOM - DAY DUCKY: Gibbs is the only other person Abby has told of her phobia. He's also the one person she'd turn to for help. ARI: Is he a special agent? DUCKY: Yes, but does that matter? Look, all I'm trying to do is to give you the evidence so you can do what you came here to do and leave. CUT TO: INT. NCIS LAB - DAY (MUSIC OVER ACTION/ABBY COLLECTS THE SAMPLES AROUND THE OFFICE/AND WALKS TO THE ELEVATOR) (ELEVATOR DOORS SLIDE OPEN/ CLOSE) CUT TO: INT. AUTOPSY ROOM - DAY ARI: (V.O.) Have you worked with Doctor Mallard long, Gerald? GERALD: A bit over two years. ARI: Quick on his feet? GERALD: He was a miler at Eton. Still recalls all of his races in great detail. ARI: Your sense of humor seems to be contagious, Doctor Mallard. DUCKY: No, I'm afraid Gerald took you literally. I have a way of going on about my salad days. He associates "quick on my feet" with my stories of the playing fields of Eton. ARI: Do you believe Wellington actually said that? DUCKY: Probably not. But most Etonians love to think he did. ARI: Are you lost, Gerald? GERALD: "The Battle of Waterloo was won on the playing fields of Eton." ARI: Very good. GERALD: Stick around the Doc long enough and you pick up a lot of trivia. ARI: Trivia? GERALD: Much as I'd enjoy that, I have to decline. So you believe this... Abby was it? GERALD: Abby Sciuto. ARI: Abby Sciuto has really developed an autopsy phobia? GERALD: Truthfully... ARI: I think your shoulder would prefer that. GERALD: I never figured anyone who slept in a coffin could have a phobia, but it's the kind of kinky thing Abby would get. ARI: She slept in a coffin? DUCKY: She's a Goth. CUT TO: INT. NCIS SQUAD ROOM - DAY ABBY: Where's Gibbs? KATE: With the Director. You okay? ABBY: Where's Tony? KATE: The head. What's wrong, Abby? ABBY: Ducky needs all this evidence back in autopsy. KATE: Before you've tested it? ABBY: Yeah. KATE: That's strange. ABBY: Yeah. I can't go down to autopsy. KATE: Why? ABBY: I had this dream like a month ago and ever since then autopsy scares the hell out of me. (KATE CHUCKLES) ABBY: Why are you laughing? KATE: Sorry. Sorry. I was um...I was just thinking of Tony. ABBY: Tony's afraid of autopsy too? KATE: No, he dreams of vampires. ABBY: Oh. I dig vampire dreams. KATE: Oh. Tony sure doesn't. ABBY: Well that's silly. KATE: But fear of going into autopsy which you've done your entire career isn't? ABBY: Of course it is. It doesn't change anything. I can't even take the elevator to the basement anymore. KATE: Wow! ABBY: Yeah. KATE: So do you want me to take this evidence down to Ducky? ABBY: Would you? KATE: Yeah, of course. ABBY: Okay. You have to sign to maintain the chain of evidence. KATE: Right. ABBY: Oh, and um... Ducky's doing an infectious autopsy. KATE: On who? The trror1st? ABBY: I don't know. He just said to leave everything outside the door. KATE: Well, Qassam is the only body in autopsy. Why would Ducky think he was infectious if you hadn't done a blood test? ABBY: I don't know. (PHONE BEEP TONES) CUT TO: INT. AUTOPSY ROOM - DAY (PHONE RINGS) DUCKY: (INTO PHONE) Autopsy. KATE: (V.O./FILTERED) So what's going on? DUCKY: (INTO PHONE) Yeah, I knew you could do it. See you in ten minutes, Abby. KATE: (V.O./FILTERED) Wait! What are you...?! (HANGS UP PHONE) ARI: Why didn't you use the speaker phone? DUCKY: Oh, sorry! I didn't think. I always pick up my phone. CUT TO: INT. ELEVATOR - DAY GIBBS: I thought the safest way to apprehend him was a routine trunk check at the Little Creek gate. The security guard opening his trunk had his wapon pulled. Qassam saw it in the side view mirror, realized the check was anything but routine... and when he-- MORROW: Pulled his wapon, you had to take him down. GIBBS: Yes, Sir. I gave him every chance.(ELEVATOR DOORS OPEN) (MORROW AND GIBBS WALK DOWN THE STAIRS) MORROW: I'll read all about it in your incident report, Jethro. What I'm interested in at the moment is how a trror1st got a job on the base? GIBBS: Fast food workers are vetted by their employers. MORROW: Unbelievable. What was he planning on doing, besides serving burgers and fries? GIBBS: I have no idea, Sir. I was hoping to get some help from Gitmo or Bahrain on that. CUT TO: INT. MTAC ROOM - DAY CASSIDY: (V.O.) Qassam's passport, student visa and social security card were all forged in Mexico. (ON SCREEN) Same errors as papers on an Al Qaeda we caught at the border. (BEGIN VIDEO CONFERENCE CALL) SNYDER: (ON SCREEN) Getting forged documents in Mexico doesn't make him Al Qaeda. CASSIDY: (ON SCREEN) I got the lead on Qassam from an Al Qaeda detainee. MORROW: Why don't you think he's Al Qaeda, Agent Snyder? SNYDER: SNYDER: (ON SCREEN) Yasir Qassam was born in the Gaza Strip. (V.O.) His parents were klled during the Second Intifada when their home was shelled. (ON SCREEN) His brother Saleem was recruited by Hamas as a shahid - a su1c1de bmb. (V.O.) This tape aired on Al Jazeera after Saleem blew himself up along with nine Israeli civilians on a bus in Jerusalem. (ON SCREEN) Saleem's reciting the usual martyr rhetoric, but he dedicates (V.O.) his death to avenge the blood of his father and mother. (CONT.) I believe Yasir used his real name on forged documents (ON SCREEN) because he was a Hamas shahida like his brother. SNYDER: (ON SCREEN) Maybe he wanted to make sure that he got the seventy virgins instead of some Muslim with an alias he used. GIBBS: Shahidas are like our sport stars to Palestinian kids. Qassam could have used his real name to be famous in Gaza. SNYDER: (ON SCREEN) Exactly. It doesn't make sense that he would die on an Al Qaeda mission in the States. He'd want to kll Israelis. MORROW: Hamas or Al Qaeda, what was he trying to do? CASSIDY: (ON SCREEN) All I know is that Qassam was key to a planned su1c1de mission at Norfolk. SNYDER: (ON SCREEN) I've nothing to add, Director. MORROW: Think of` something.(END VIDEO CONFERENCE CALL) MORROW: Well? GIBBS: Daniel Snyder's a good agent, sir. I'd trust his instincts. MORROW: Hamas has never attcked targets on U.S. soil for fear of losing financial support from pro-Arab Americans. GIBBS: How can you support any group that lets their children blow themselves up? MORROW: Their leaders say that the su1c1de bmb is all they have to fight with. GIBBS: Sir, when Hamas leaders start blwing themselves up, I'll consider it. CUT TO: INT. NCIS SQUAD ROOM - DAY ABBY: There's a way to overcome this. Really? How? Group therapy. Oh, how many people have a fear of autopsy? You're going to be a group of one! Lots of people wouldn't be caught dad in an autopsy room. Very funny. Maybe hypnotism. Ooh, remember Doctor Wertzer's class? You still don't know what he made you do when you were under hypnosis. Whatever it was, I woke up feeling refreshed...in his office a day later. GIBBS: Abby? ABBY: Yes? GIBBS: What are you doing? ABBY: I was having an internal debate. GIBBS: Mmm. Who's winning? ABBY: I'm not sure. Oh, hell. The phobic side. GIBBS: Still can't enter autopsy? ABBY: No. GIBBS: Did you find any tag traces of explsives on the trror1st's clothes? ABBY: Ducky took everything back before I had a chance to test it. GIBBS: What? ABBY: Don't look at me! He wouldn't say why. He just wanted everything back including the blood. GIBBS: Including the blood? ABBY: Yeah, it was a bit weird. There's no way to do a blood test in autopsy. GIBBS: Did Gerald pick it up? ABBY: Gerald was busy. Ducky just wanted me down there STAT. GIBBS: STAT? ABBY: Yeah. And I wouldn't go so Kate took it down. TONY: Hey boss. What's up, Abs? ABBY: Something's... TONY: Hinky? GIBBS: Tony, get autopsy on the plasma. TONY: Huh? GIBBS: Autopsy. TV. Now! Why would Ducky say STAT? ABBY: Because he's a doctor? And because STAT means fast and a medical emergency? GIBBS: (OVERLAP) Medical emergency. But what is a medical emergency in autopsy? TONY: All I'm getting is snow. CUT TO: INT. AUTOPSY CORRIDOR - DAY (SFX: ELEVATOR DOORS SLIDE OPEN) (KNOCK ON DOOR) DUCKY: You can leave it there. KATE: You have to sign. DUCKY: Well, I can't open the doors with you there. KATE: What's the infection? DUCKY: Don't know yet. He's got a pustule on his thigh. It may be nothing. Yeah, I'll sign. Cross my heart. KATE: I bat my phobia! DUCKY: Yes, so I see, Abby. Well done. (DOOR SLIDES OPEN) ARI: When did lab rats start carrying Sig Sauers? (CUT TO BLACK) FADE IN: INT. NCIS SQUAD ROOM - DAY GIBBS: Punch up autopsy receiving and stairwell cameras. Then the building floor plans. TONY: On it, boss. GIBBS: (INTO PHONE) Gibbs for Director. (TO ABBY) Abby, did Ducky sound funny? ABBY: Kind of tense. Like when a test result isn't what he expected. GIBBS: (INTO PHONE) Director, we may have intruders in autopsy. Possible hostage situation. TONY: We've got an ambulance outside autopsy receiving, boss. GIBBS: (INTO PHONE) Yes, Sir. I think we should alert H-R-T and open a command center in MTAC. Aye aye, Sir. ABBY: Oh, god. I should be down there. GIBBS: Tony, where's my floor plan? TONY: Coming up. GIBBS: Okay, get me two agents in receiving, two in the elevator here. TAC-one. TONY: TAC-one. GIBBS: Abs, how do I rotate this thing? ABBY: Just tell me what you need. GIBBS: Your lab and autopsy. All entrances and exits. Give me three sixty. Keep going. Keep going. Keep going. Keep going. Go, go, go, go, stop. Right there. What's this right here? ABBY: My gas chromotograph. GIBBS: Can it be moved? ABBY: Yeah. GIBBS: Do it. Abby, I need a drill and a flexible video probe. ABBY: Got it. TONY: Agents on their way. We taking the basement stairwell? GIBBS: Yeah. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY ARI: No throw away? Special Agent Caitlin Todd. Are you any good with this gn, Caitlin? KATE: Give it back and I'll demonstrate. ARI: Mmm, ever fre it in anger? KATE: I would love to right now. ARI: Did you sht Qassam? Did you put that double tap in his heart? DUCKY: She didn't sht him. ARI: Who did? DUCKY: Special Agent Gibbs. KATE: Ducky! ARI: That name rings a bell, Doctor Mallard. KATE: Don't answer this bastard! ARI: You mustn't chastise the good doctor, Caitlin, at least not until you know my rules. KATE: I don't play by trror1st rules. ARI: Who says I'm a trror1st? Doctor, is this all the evidence? DUCKY: From what I can see from here. Gerald? GERALD: It looks like all of it. ARI: Caitlin, you may roll over now if you keep your hands where they are. Did Special Agents search Qassam's room? Where is the evidence that was bagged and tagged? Doctor, please explain the rules to stubborn little Caitlin. DUCKY: If we lie, or he thinks we're lying, he'll put a bllet in one of Gerald's joints. ARI: Be specific. Ball and socket joints. And you omitted one condition. DUCKY: I did? ARI: Yes, you did. DUCKY: Oh, yes. We mustn't try to trick him. ARI: Which you tried to do, Caitlin, by saying you bat your phobia. DUCKY: But she didn't know the rules. ARI: But you did, Doctor Mallard. And you joined the ruse by calling her Abby. (SFX: gn) (SFX: GERALD SHOUTS) GERALD: Oh, God. No... CUT TO: INT. STAIRWELL - DAY (TONY AND GIBBS RUN DOWN THE STAIRS) (DOOR OPENS) GIBBS: Autopsy's dark. Who'd you get to back us? TONY: Pacci's covering receiving. Balboa the elevator. GIBBS: Pacci. Gibbs. (BEGIN SCENE INTERCUTS) (SCENE CUT) GIBBS: (V.O./FILTERED) You in place? PACCI: Affirmative. Ambulance is empty. Elevator door closed. You want us to enter? (SCENE CUT) GIBBS: Negative. Hold your position. Balboa? (SCENE CUT) BALBOA: Standing by. Personnel elevator locked down. GIBBS: (V.O./FILTERED) Disable the bell. Go down to autopsy. (SCENE CUT) GIBBS: Do not open the doors. BALBOA: (V.O./FILTERED) Roger.(END TELEPHONE INTERCUTS) GIBBS: I'm going to MTAC. TONY: We've got a hostage situation, don't we, boss? GIBBS: Time to make a phone call. TONY: Yeah. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Don't worry, son. I'll take care of you. KATE: You bastard! ARI: You seemed like such a bright young woman and that's all you can say? (GERALD SHOUTS) KATE: You bastard! DUCKY: Kate! Kate! Kate! My medical bag. Over by the desk on the floor. Sorry, Gerald. Hang on. I've got morphine. ARI: I would dislike having to put a slug through Gerald's knee as well. CUT TO: INT. STAIRWELL (DOOR OPENS) TONY: Gibbs. DiNozzo. Kate just ran past the doors inside autopsy. CUT TO: INT. MTAC ROOM TONY: (V.O./FILTERED) She just ran back again. GIBBS: I read you, Tony. Stand by. MORROW: No video from autopsy. GIBBS: It's looking like a hostage situation, Director. Three of our people; Doctor Mallard, his assistant Gerald Jackson, Special Agent Kate Todd. Unknown number of dirt bags. MORROW: Let's find out. Start tapes. VOICE: Yes, Sir. CUT TO: INT. AUTOPSY ROOM - DAY (SFX: PHONE RINGS) ARI: Answer the phone, Doctor. DUCKY: You answer it! I'm trying to stop this bleeding. Give him the morphine! KATE: Where? ARI: In the thigh right through the cloth. You better answer that call or you'll be working on his knee. DUCKY: Kate, come here. Come here. Throw that away! Come here! Come. Put pressure on here. If the blood seeps through your fingers, then push harder. (INTO PHONE) Autopsy. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Ducky. What's with the infectious autopsy? DUCKY: (V.O./FILTERED) Purely precautionary. GIBBS: (INTO PHONE) Is that why you took the evidence back? (SCENE CUT) DUCKY: (INTO PHONE) Yeah, sorry. But I'm really busy. (SCENE CUT) GIBBS: (INTO PHONE) Hey, is Kate there? (SCENE CUT) DUCKY: (INTO PHONE) No. (SCENE CUT) DUCKY: (V.O./FILTERED) She left a few minutes ago. GIBBS: (INTO PHONE) Okay. You let me know when I can come down. You got me curious. (END TELEPHONE INTERCUTS) CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: I can't wait to weigh your liver. CUT TO: INT. STAIRWELL - DAY TONY: (V.O.) Unknown male in autopsy... CUT TO: INT. MTAC - DAY TONY: (V.O./FILTERED) ...wearing greens. Medium build and height. GIBBS: Copy. MORROW: The FBI Hostage Rescue Team will be onsite in seven minutes. We need an eye in autopsy. GIBBS: On it. (SFX: KEYBOARDING) CUT TO: INT. AUTOPSY - DAY KATE: How's he doing? GERALD: I'm fine. KATE: The bleeding stopped. That's good. ARI: Yes, and no. Correct, Doctor Mallard? DUCKY: I had to clamp his axillary artery to stop it. ARI: Which means Gerald will lose his arm if the artery isn't repaired and the blood flow restored soon. KATE: Ducky, can't you do that? DUCKY: This is an autopsy room, not an ER. No, I can't. I'm sorry. He's going to need a fully equipped room and staff. ARI: Which he will get as soon as I'm out of here. So where is the evidence collected in Qassam's room? KATE: The lock-up. ARI: Which is? KATE: In the garage, one floor up. ARI: The same way I came in. KATE: I don't know how you came in. ARI: In a body bag. KATE: Same way you're going out. ARI: Is it the same garage? DUCKY: No. The evidence locker is in the garage next to forensics. Above us. CUT TO: INT. NCIS LAB - DAY (MUSIC OVER ACTION/GIBBS THREADS THE MICRO CAMERA THROUGH THE FLOOR) ABBY: Oh god. Gerald! Oh, I should be in there! GIBBS: Feed it into MTAC. Hey, maybe you're not there, Abby, because you are needed here. Go! CUT TO: INT. MTAC - DAY MORROW: One intruder. CUT TO: INT. LAB - DAY GIBBS: That's all I see, Sir. Zoom in! (SFX: MUFFLED gn) GIBBS: Guess he knows we're on to him. CUT TO: INT. AUTOPSY ROOM - DAY (MUSIC OVER ACTION/ARI UNPACKS HIS BAG) ARI: Doctor, Caitlin, put Qassam in the body bag. (SFX: WARNING BUZZER IN CORRIDOR) ARI: Now, please. Soon they'll be calling to negotiate your release. KATE: We don't negotiate with trrorists. ARI: Caitlin, when you get to know me better, you won't call me that. KATE: I have no intention of getting to know you better. ARI: Are you sure? CUT TO: INT. SQUAD ROOM - DAY (SFX: WARNING BUZZER B.G.) GIBBS: Special Agent Gibbs. HOROWITZ: H-R-T Leader Horowitz. What do you got, Gibbs? GIBBS: A trror1st is holding three of our people hostage in autopsy. One of the hostages is wounded. We're here. This is autopsy. There are three exits: elevator, staircase, receiving. I have special agents at all three and they're on TAC-one. HOROWITZ: Team one - elevator. Team two - stairway. Three - receiving. GIBBS: (INTO RADIO/OVERLAP) Balboa, bring the elevator to level three for H-R-T. Pacci, DiNozzo, replacements are on the way. Stairwell and elevators on the other side of the staircase. Your Team Three will have to access receiving from the alley. HOROWITZ: Okay, let's ht it, gentlemen! Let's move! GIBBS: Hang on a second. Those hostages are our people. I'm in charge here. Understood? HOROWITZ: Understood. Let's move out! (MUSIC UP AND OUT) FADE IN: INT. MTAC ROOM - DAY MORROW: This is a video frame of the man holding our people hostage.(BEGIN VIDEO CONFERENCE CALL) CASSIDY: (ON SCREEN) Nice smile. MORROW: I'm sure. Do you recognize him? CASSIDY: (ON SCREEN) I just meant that I would remember it, Sir, and I don't. The detainee who gave up Qassam may be able to identify him. SNYDER: (ON SCREEN) I'm sorry, Director, I was on with Tel Aviv. Did Qassam work at Little Creek? MORROW: He did. SNYDER: (ON SCREEN) There's our Hamas connection. The Israelis are training at Little Creek on Hurricane boats. GIBBS: I should have known that, Sir. MORROW: See if Tel Aviv can identify him. Apparently our hostage taker is Hamas, but what's he after? ARKIN: Negotiator Arkin, Director. If you'll open up a phone line to him, I'll find out. GIBBS: I already know, Sir. He's here to retrieve Qassam's body and blood. MORROW: Blood? GIBBS: Hamas doesn't want us to know they had an infected trror1st serving burgers and fries to American and Israeli sailors. MORROW: Get me CDC. Infected with what? CUT TO: INT. NCIS GARAGE - DAY (ELEVATOR DOORS SLIDE OPEN) ABBY: Typhoid, anthrx, small pox - it could be any number of diseases with high morbidity. TONY: (OVERLAP) Kate and I have been exposed. GIBBS: Maybe not. TONY: I need all the evidence I signed in this morning, Charlie. CHARLIE: What? TONY: (LOUDLY) The evidence I signed in now! (TO GIBBS) Why haven't we been exposed? GIBBS: If Qassam was infectious, the attck would have been successful. No need to send a cleaner to keep us from finding out. TONY: Maybe they wanted to delay our isolating exposed sailors to induce an epidemic. ABBY: So sick. Well it is! CHARLIE: One of you has to sign for that! TONY: Don't wash. GIBBS: Sorry. There's two more. Qassam would not have infected himself until he got a job on base. He would have carried the virus in something that's here. ABBY: How long was Qassam slinging burgers? TONY: Eight days. ABBY: That's good news. Usually it takes longer than that to become infectious. TONY: Usually? ABBY: Okay, I'm going to start testing. GIBBS: Not until we get duplicates to give him. I'm not giving him the virus back. ABBY: Well, the pharmacy will have the aspirin, and nasal spray, the breath freshener, and the nearest place to get the tea... would be... The Tea Peddler. Two seven eight eight Connecticut Avenue. Now can I get started? (ABBY WALKS O.S.) GIBBS: How long do you think it would have taken me to find the nearest tea shop? TONY: An hour sooner than me. CUT TO: INT. MTAC ROOM - DAY ARI: (V.O.) I've regrettably had to demonstrate the consequence of not obeying my orders. The man I sht is in danger of losing his arm.(BEGIN VIDEO CONFERENCE CALL) ARKIN: Well then it's important-- (SCENE CUT) ARI: When all evidence collected from Qassam's room is in my hands... (SCENE CUT) ARI: (V.O.) ... you may have your wounded man. ARKIN: I'll need the approval of the NCIS... (SCENE CUT) ARKIN: (V.O.) ...Director before I... ARI: He's standing next to you. (SCENE CUT) ARI: (V.O.) Nod yes to the negotiator, Director Morrow. ARKIN: You have a deal. (SCENE CUT) ARKIN: (V.O.) Now can we talk about releasing...? ARI: You have ten minutes. (SCENE CUT) ARKIN: No, we need more ti-- (SFX: DIAL TONE) (END VIDEO CONFERENCE CALL) CUT TO: INT. AUTOPSY ROOM - DAY (DUCKY ZIPS THE BODY BAG) DUCKY: (WHISPERS) Kate, no! He wants you to try. KATE: Doctor Mallard thinks you were daring me to pick up this Knfe. ARI: The proper term is a dissecting tool. KATE: You didn't answer my question! You just wanted another excuse to sht Gerald, didn't you! (ARI HITS KATE) ARI: (laughs) I have no intention of shting Gerald again, Caitlin. I did, however, want to see if I was right about you. KATE: Next time I'll be quicker. ARI: Oh, don't you wonder why you weren't now? DUCKY: Uh, could you give me a go? ARI: I think not, Doctor. You would kll me without hesitation. I do, however, think you would regret it. Now, we have work to do if we're all to survive this day. CUT TO: INT. MTAC ROOM ABBY: (ON SCREEN) It's definitely a variola smallpox virus. That's good news because it's not a flat or hemorrhagic small pox which is always fatal.(BEGIN VIDEO CONFERENCE CALL) GIBBS: Where'd you find it? ABBY: (ON SCREEN) Up your nose has a special meaning for this guy. GIBBS: That's good work, Abby.(PHONE RINGS B.G.) CONSOLE AGENT: (V.O.) Hostage taker calling. ARKIN: Hello. (SCENE CUT) ARKIN: (V.O.) I don't know your name. ARI: (INTO PHONE) Is Special Agent Gibbs there? (SCENE CUT) ARKIN: I don't know who that is. GIBBS: I'm here. ARI: (V.O.) Thought you might be. You've seen me on video. (SCENE CUT) ARI: (INTO PHONE) My turn to see you. (SCENE CUT) GIBBS: Looking forward to it. ARI: (V.O.) Come alone. Unarmed. (SCENE CUT) ARI: (V.O.) ...and don't forget Qassam's things. (END VIDEO CONFERENCE) CUT TO: INT. NCIS SQUAD ROOM - DAY (DOORS SLIDE OPEN) TONY: Got it all bagged and tagged, boss. Aspirin, breath freshener, nasal spray, and tea. Qassam drank a wimpy Darjeeling from northwestern Kashmir. I prefer the darker, more robust flavor of tea from the brahmaputra area in northeast India where they actually take the leaf and they rake it... GIBBS: Tony. TONY: Yeah, boss? GIBBS: You nervous? TONY: Yeah. I don't like you going down there unarmed and solo. GIBBS: No choice. Besides, I need you outside receiving. Team one. Gibbs. Elevator to level three. TONY: By the time we get down from receiving, it'll be over. GIBBS: This guy's not a su1c1de bmb. He has an escape plan. Maybe to get out the same way he came in. I want someone I know there. TONY: That's the same as saying someone you trust. Someone you can depend on. (ELEVATOR DOORS SLIDE OPEN) ABBY: I tested everything. The nasal spray was the only viral container. GIBBS: Thanks, Abs. TONY: Your best man!? (ELEVATOR DOORS SLIDE SHUT) TONY: I don't think best man was the right thing to say to someone who has been married thrice. ABBY: You worried? TONY: Oh, no. ABBY: Yeah, me too. CUT TO: INT. ELEVATOR (SFX: ELEVATOR DINGS) (GIBBS WALKS TO THE AUTOPSY LAB) CUT TO: INT. AUTOPSY ROOM - DAY ARI: (V.O.) You're older than I expected. GIBBS: Where are the other hostages? ARI: Box on the floor. Hands on top of your head, turn around, and walk back to the door. GIBBS: Not without Gerald. ARI: He won't leave here at all unless you put the box on the floor, your hands on your head, turn around. GIBBS: (OVERLAP) Turn around and walk back to the door. Older doesn't mean deaf. You want out of here alive? ARI: I'm sure Gerald does. GIBBS: I think you do, too. That's why very slowly now I'm going to reach into this box and take out of here with two fingers exactly what you want. (GIBBS SNIFFS THE NASAL SPRAY) GIBBS: Ah! Surprise! You failed. Mission over. The real smallpox virus is on its way to CDC. Do you want to talk about whether you live or die? CUT TO: INT. CORRIDOR sh*t: (MUFFLED) I have a sht. CUT TO: INT. ELEVATOR - DAY HOROWITZ: Negative. Too risky through glass. CUT TO: INT. AUTOPSY ROOM - DAY ARI: How far were you from Qassam when you sht him? GIBBS: Oh, I don't know. ARI: You measured it for your incident report. GIBBS: Thirty seven feet and a few inches, give or take. ARI: Oh, you're a very good sht. GIBBS: I would love to demonstrate. ARI: Funny. Special Agent Todd said the same thing. GIBBS: Where is she? And the doctor? ARI: Would you truly like to demonstrate? GIBBS: Yep. ARI: Agent Todd's Sig Sauer is in the box to your left. The clip is from the Sig Sauer. Untampered. All live rounds. (PAUSE) Pick it up. (SFX: gn CHAMBER CLICKS) GIBBS: Why? ARI: Why not? (SFX: gn) (SFX: FLASH BANG GRENADE EXPLODES) (DOORS SLIDE OPEN) HOROWITZ: Let's go! Go! Go! Go! Come on! (MUSIC OVER ACTION/SWAT TEAM STORMS THE AUTOPSY ROOM) (VOICES SHOUT B.G.) SWAT MEMBER: Target's down! I've got him! Over here! (SFX: VOICES MUFFLED B.G.) TONY: (ECHO F/X) Boss! Boss! Hey, boss. Listen, don't try to sit up. Don't sit up. The EMTs will be here in a minute. It's a through and through. Nothing vital. GIBBS: Did I get him? TONY: Yeah, you got him. CUT TO: INT. CORRIDOR - DAY ABBY: I've got to get down there. (ABBY MOVES INTO THE ELEVATOR) CUT TO: INT. AUTOPSY ROOM - DAY TONY: Well, you were right, boss. He had an accomplice in H.R.T gear inside the receiving elevator. sht both the H.R.T guys before I nailed him. One of them's dad. The other's going to make it. GIBBS: Where are Kate and Ducky? TONY: Right here. He had them in the body drawer. HOROWITZ: How'd you get him, Gibbs? (GIBBS TURNS OVER THE BODY) GIBBS: I didn't. CUT TO: INT. NCIS SQUAD ROOM - DAY TONY: The way he escaped was always his back up plan. He just needed someone he could count on to sh*t him in the chest to trigger the asault. Gibbs figures he was wearing a bllet proof vest all along. KATE: He was. I felt it. TONY: You felt it? Well, how close did you get to feel it? Close enough to touch him. With your hands or did you touch him with...? KATE: Close enough to sab him with the Knfe in my hand. TONY: And you didn't. KATE: No. TONY: Stockholm Syndrome? KATE: You can't identify with your captor in an hour. TONY: Oh, I don't know. Maybe it's like falling in love. That can happen... like that. (SNAPS FINGER) (PASSAGE OF TIME) (DOORS SLIDE OPEN) (ABBY LAYS ON THE TABLE/DUCKY WALKS FROM THE ROOM) CUT TO: INT. BASEMENT - NIGHT (MUSIC OVER ACTION/GIBBS LOOKS AT HIS pstol) (SFX: g*n) (FADE TO BLACK) (ENDING CREDITS UP AND OUT) (ENDING CREDITS CONTINUE AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x16 - B\u00eate Noire"}	foreverdreaming
FADE IN: INT. WAREHOUSE CLUB - NIGHT (MUSIC PLAYS B.G.) (MUSIC PLAYS AS JOHN WALKS ACROSS THE ROOM) CUT TO: INT. STAIRCASE - DAY (VOICES B.G.) (JOHN RUSHES TO THE MEN'S ROOM/ URINATES) (ACTION CONTINUES: JOHN MOVES THE TRASHCAN TO THE MIDDLE OF THE ROOM) (MUSIC OVER ACTION/CEILING COLLAPSES) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: EXT. WAREHOUSE - DAY "THE TRUTH IS OUT THERE" TONY: Kate, I've been meaning to ask you something for a while. KATE: What's that? TONY: What do you do with your leftover cereal when there's not enough to eat but there's too much to throw away? Because I was having Captain Crunch this morning and I was... KATE: (OVERLAP) Tony, I'm really not in the mood today. TONY: Well, I was just trying to take your mind off him. KATE: Who? TONY: The one that got away. KATE: Tony, I'm not thinking about that damn trror1st. TONY: Sorry. KATE: Look at Gibbs. He's been growling like a wounded bear since that night. TONY: Well, he is wounded, and he always growls like a bear. It's his way of never letting anyone know when he's hurting. Yours is being moody. KATE: (V.O.) I'm not moody! CUT TO: INT. WAREHOUSE - DAY TONY: Oh, what do you call it? I feel sorry for whatever his name is. KATE: Sorry? TONY: Yeah. I wouldn't want Gibbs on my ass. KATE: We're never going to see that guy again. TONY: Maybe not. Gibbs will. CUT TO: INT. STAIRWELL - DAY COP: (V.O.) Identification? GIBBS: Gibbs. N-C-I-S. COP: Right through here, Sir. TONY: Kate, have you ever been in a men's room before? KATE: No. Have you?(TONY CHUCKLES) CUT TO: INT. MEN'S ROOM - DAY DUCKY: Where've you been, Jethro? GIBBS: Someone knew a short cut, Duck. TONY: G.W. Parkway was like a parking lot this morning. DUCKY: I came on the G.W. Parkway after stopping at the hospital to visit with Gerald. GIBBS: How is he? DUCKY: He's going to be in rehab for months. I want that trror1st on my table, Jethro. GIBBS: Kate? KATE: Photos. GIBBS: Tony? TONY: Laser sketch. GIBBS: Talk to me about this case, Ducky. DUCKY: Oh, it's an odd one. Yes, our young friend here expired at approximately one a.m. GIBBS: Do we have an I.D.? DUCKY: Petty Officer First Class Chris Gordon. He's a S.K. stationed at Pax River. GIBBS: All this happened from him falling out of the ceiling? DUCKY: Hardly. He suffered multiple traumatic injuries. His fall through the ceiling only added insult to injury. GIBBS: I'm still waiting for the odd part. DUCKY: Someone dressed him after he was klled. GIBBS: That's odd. DUCKY: Well, I'll know more when I get him on the table. GIBBS: Where'd you find that? DUCKY: Safety glass, I think. GIBBS: Did you find his cell phone? DUCKY: What makes you think he had one? GIBBS: Scrape marks on his belt where he carried it. DUCKY: No. No cell phone. GIBBS: One obvious question, Duck. How did Petty Officer Gordon end up in the basement ceiling? CUT TO: EXT. WAREHOUSE - DAY TONY: Blood. GIBBS: There's a trail leading out to the parking lot. TONY: What about inside the door? GIBBS: We'll get there. Tony, do a hundred meter perimeter search. Kate, you keep snapping. TONY: Hey boss, check this out. GIBBS: Brake marks? TONY: That's what I thought when I was first walking up. But if they were brake marks, they'd start out light and gradually darken. GIBBS: Front wheel drive. He was accelerating. KATE: It looks like somebody ran over Petty Officer Gordon when he came out of the club, then hid his body. TONY: And nobody saw it? GIBBS: At least one person did, whoever ran him down. Preserve this area for evidence. Where's the guy who runs this nightclub? COP: We took his statement, then let him go. GIBBS: Are you in the habit of letting material witnesses go before they talk to investigators? COP: He had to leave. GIBBS: Why did he have to leave? CUT TO: EXT. SCHOOL - DAY (SFX: BELL RINGS B.G.) GIBBS: Darin Spotnitz? DARIN: Maybe. GIBBS: How about now? DARIN: Definitely. GIBBS: Special Agent Gibbs, NCIS. Special Agent Todd, Special Agent DiNozzo. DARIN: What's NCIS? TONY: Naval Criminal Investigative Service. DARIN: Is this about last night? GIBBS: It is. DARIN: Look, I already told the police all I know. GIBBS: Then tell us. DARIN: I didn't see anything. Don't know nothing. TONY: Let me guess - honors English? GIBBS: Recognize him? DARIN: There were like five hundred and thirty seven people there last night. GIBBS: You didn't answer my question. DARIN: No, I don't recognize him. I wasn't working the door. GIBBS: Who was? DARIN: Antwane. GIBBS: Hmm. Does Antwane have a last name? DARIN: Mann. With two n's. TONY: How do we find Antwane Mann with two n's? GIBBS: Nice P.D.A. DARIN: Actually, it's a Motorola A-three eighty eight. It's a P.D.A. plus cell phone and internet connection. Here's his home number, cell number, business number, fax number and address. GIBBS: Kate. KATE: Right. DARIN: You want me to beam it to you? KATE: Sure. GIBBS: How old are you? DARIN: Eighteen. (bat) Seventeen (bat) -- two months. GIBBS: You run this moving nightclub by yourself? DARIN: That's right. GIBBS: Do you have any employees? DARIN: Well, I hire them as subcontractors. That way they're responsible for a hundred percent of FICA and Medicare. Not just half. GIBBS: I'm sure they appreciate that. DARIN: Yeah, well any business school professor will tell you that the objective of any company is to motivate your employees so that they provide superior goods and services. That's why professors rarely ever succeed in business. KATE: But you do. DARIN: Yeah. I have no fixed costs. My direct costs are controllable. My purchases are two ten net thirty. My break even is two hundred and twelve people. My shts are dispensed by a machine to prevent any free drinks and I have internal controls to insure that all cash is accounted for. TONY: What's the deal with your hair? GIBBS: How do you think a guy from Lexington Park ends up an hour away at a party in Alexandria? DARIN: It's easy. It's a Darin Spotnitz party. I put a name brand on it, you know. It's a name brand. No on ever thought to put a brand name on a party until I did it. (SFX: CELL PHONE RINGS) DARIN: Oh, sorry. I should take this. GIBBS: I wouldn't. DARIN: Or they could just leave a message. KATE: So what exactly does a Darin Spotnitz party mean? DARIN: kller music, great drinks, and hottie factor off the charts. GIBBS: How do we get in touch with you? DARIN: (bat) Are you going to tell my parents about this? KATE: They don't know? DARIN: Well, it's kind of illegal for me to be in a nightclub. (KATE/TONY AND GIBBS WALK O.S.) CUT TO: EXT. SCHOOL PARKING LOT KATE: So, if his breakeven is two hundred and twelve people and he had five hundred and thirty seven... TONY: Twenty five dollars a head... KATE: That means he cleared eight thousand, one hundred and twenty five dollars in one night. Huh! TONY: I should have majored in business. CUT TO: INT. ENLISTED QUARTERS - DAY VOICE: (V.O.) Petty Officer Gordon's quarters are around the corner, second door on the right. CUT TO: INT. GORDON'S QUARTERS - DAY (DOOR OPENS) GIBBS: Somebody tossed this place. TONY: How can you tell? GIBBS: The furniture indentations on the carpet. No fingerprints or smudges on the ice box or the microwave. KATE: No sign of forced entry. Who would have access to his room? TONY: The guy he shares a head with. GIBBS: Or his C.O. KATE: How do you know he shares a bathroom? TONY: E-five and below you have up to four roommates - you share a head. E-six, you get your own space but you share a head. E-seven own room, own head. KATE: Like a sorority. TONY: Yeah. I wonder what they were looking for? KATE: I wonder if they found it? GIBBS: I wonder when you two guys are going to stop yakking and get to work. (MUSIC OVER ACTION/GIBBS/ KATE AND TONY LOOK THROUGH THE APARTMENT) TONY: Looks like this guy was burning DVDs. That reminds me I've got to return Grease. It's a week overdue. CUT TO: INT. BATHROOM - DAY KATE: Apparently he was immune to germs. CUT TO: INT. LIVING ROOM - DAY TONY: Ah, this guy was way into reality shows. Real World, Simple Life, Punk'd... GIBBS: Punk'd? KATE: Geez, Gibbs. Even I know what Punk'd is. TONY: Punk'd is an MTV show where they play tricks on celebrities while secretly filming it. GIBBS: Like Candid Camera. TONY: What's Candid Camera? (bat) What is it, boss? GIBBS: The funny thing about stereos, you can't hear the music unless the speakers are connected. (MUSIC OVER ACTION/GIBBS OPENS THE SPEAKER) (MUSIC OUT) FADE IN: INT. GORDON'S QUARTERS - DAY KATE: Forty thousand dollars. All hundreds. Non-sequential. TONY: Now we know what they were looking for. KATE: And didn't find. GIBBS: Forty grand seems like a pretty good motive for mrder. TONY: How does an E-six Petty Officer making two thousand three hundred and ten dollars a month manage to squirrel away forty grand in cash? GIBBS: Good question. KATE: I'm guessing it's not because he's frugal. CUT TO: INT. SUPPLY WAREHOUSE - DAY (SFX: FORK LIFT B.G.) NUTTER: Can I help you? GIBBS: Master Chief, NCIS. Do you got a minute? NUTTER: Is this about Petty Officer Gordon? GIBBS: It is. NUTTER: Keep your eyes open. These guys drive like they're at Indianapolis. GIBBS: You were Petty Officer Gordon's section chief. NUTTER: Yes, Sir. GIBBS: Good worker? NUTTER: He was one of the best. He was a bit of a practical joker. I occasionally had to remind him of the time and the place. TONY: Did he get along well with his mates? NUTTER: Oh, yeah. There were four guys in particular he was in tight with. I called them the five musketeers. TONY: Are they here? NUTTER: No, they work the sixteen shift. GIBBS: We looked over Gordon's quarters. We found forty thousand dollars in cash. Any idea where he could have got that kind of money? NUTTER: No, Sir. GIBBS: Master Chief, according to your records, you've been here ten years. I'm sure you know what goes on at this base more than most. NUTTER: That's correct, Sir. GIBBS: If you had to come up with a way that an E-six could accumulate that kind of money... NUTTER: Drugs, maybe. Although I'd bet my last dollar that Chris wasn't involved with drugs. I don't suspect gambling neither. KATE: You don't think sailors gamble? NUTTER: I'm sure they gamble, but it's dollar ante. If there was a regular big game, I'd know about it, Ma'am. GIBBS: Gordon was in supply. Any chance he was getting kickbacks? NUTTER: No chance at all. He wasn't high enough up the food chain to influence who got contracts or what was purchased. GIBBS: Ah, he'd have to be at what, your level? NUTTER: Yes, Sir. CUT TO: EXT. WAREHOUSE - DAY KATE: Gibbs wasn't real subtle with that kickback comment. GIBBS: I wasn't trying to be. CUT TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN) GIBBS: Ducky, you got some good news for me? DUCKY: Well, it depends on your definition of good news. GIBBS: Not the answer I was looking for. DUCKY: It seems the more I delve into our young friend here, the more bewildered I become. GIBBS: It's usually the other way around. DUCKY: Yeah, Petty Officer Gordon had multiple lower leg fractures; tibia, fibia. Massive abdominal bruising and echymosis and a subdural hematoma from a skull fracture. GIBBS: Consistent with being ht by a car? DUCKY: Entirely. GIBBS: So that's pretty straight forward. What's the mystery? DUCKY: There was a white substance on his hands. I sent it up to Abby. I could venture a guess as to what it might be. GIBBS: Sure. Venture away. DUCKY: Baby powder. GIBBS: Powder? Was this powder applied or from incidental contact? DUCKY: Most definitely applied. GIBBS: Why? DUCKY: I haven't the faintest idea. And that's not all. This sliver of safety glass is one of many I extracted from his skull. GIBBS: What's that stuck to the tip? DUCKY: Latex, I believe. Abby will be able to confirm. But the latex was between the glass and his skull. GIBBS: Meaning he was wearing something rubber on his head when he was ht? DUCKY: We know someone dressed him after he was klled, based on the condition of his clothes and the bloodstain patterns. GIBBS: I can see why you're confused, Duck. CUT TO: INT. NCIS OUTER LAB - DAY (MUSIC PLAYS B.G.) ABBY: It's grey latex. GIBBS: Rubber? ABBY: One and the same. GIBBS: Probably couldn't be used as a hat. ABBY: Yeah, well, not if you grew up in Dorkville. GIBBS: I grew up just west of there. ABBY: Latex is very popular in certain circles. GIBBS: Yeah? What kind of circles. ABBY: Oh hey, Gibbs. I don't know if you're ready for this. It might upset your delicate sensibilities. GIBBS: Oh, I'll stop you. ABBY: Okay, maybe he was wearing a latex hood. Like bondage gear, S and M fetish. GIBBS: Mm-hmm. ABBY: I dated this guy once who just wanted me to bounce up and down on a balloon... GIBBS: Okay, stop! ABBY: Gibbs, that is no weirder than a three hundred and fifty pound guy with half his body painted yellow and the other half painted green wearing nothing but shorts in ten degree weather and a big plastic piece of cheese on his head saying, "Go Packers!" GIBBS: Ah, that's just apples and oranges. ABBY: There's a fetish for that, too. GIBBS: What do you got? ABBY: I matched the tire track. It turns out it's not real popular, but not terribly unpopular. CUT TO: INT. INNER LAB - DAY ABBY: Kind of like my little brother in high school. ABBY: Those are the five cars that come equipped with that tire. GIBBS: Next. ABBY: All the blood samples from the bathroom, the parking lot, the ceiling, the stairs, were all from the victim. No drugs. And the blood alcohol level was point one zero. GIBBS: Legally drunk. ABBY: In all fifty states including the District of Colombia. GIBBS: That might explain how he ended up where he did in the parking lot. ABBY: Been there, done that. GIBBS: What about the stuff he had on his hands? ABBY: Baby powder. GIBBS: Any ideas why? ABBY: I don't know. Guys have all kinds of strange rituals before they go out. This one guy... he does a full upper body workout just seconds before his date so he can be all pumped. GIBBS: Does Tony know that you know? ABBY: Does Tony know that you know? You know, maybe it came from the car. GIBBS: The baby powder? ABBY: No, the latex. Latex has a lot of commercial applications. I'm having a computer program emailed to me that'll recreate the accident based on the injuries. It'll give me a better idea. GIBBS: Let me know. ABBY: Hey Gibbs, do you have any fetishes? ABBY: I have three ex-wives. I can't afford fetishes. CUT TO: INT. NCIS SQUAD ROOM - DAY KATE: Tony, are you a G S nine or a G S eleven? TONY: I can't tell you. KATE: Why not? TONY: Because if I do you'll know how much money I make. KATE: So? TONY: That's personal and confidential. KATE: I'm sorry, um... you give me every single detail about your dates. You leave out nothing. TONY: That's bragging. Money's personal. GIBBS: It's fifteen twenty. TONY: We're quitting early? (bat) We're going to PAX River. KATE: To pick up Gordon's buddies who come on at sixteen hundred. GIBBS: The four musketeers. CUT TO: INT. OBSERVATION ROOM - DAY BOWMAN: (V.O.) We um... we drove to the club after hearing about it from a guy on the Eisenhower, Sir. GIBBS: (V.O.) Why all the way to Alexandria? BOWMAN: We were bored with the clubs around Lexington Park. We knew everyone there. CUT TO: INT. INTERROGATION ROOM - DAY BOWMAN: And we wanted to meet some new people. Plus we heard this guy Darin Spotnitz threw some awesome parties. GIBBS: Hmm. How'd you get there? (PASSAGE OF TIME) MORGAN: I drove. GIBBS: You only took one car? MORGAN: Yes, Sir. We got there around eleven. GIBBS: Okay, then what? MORGAN: We paid our twenty five bucks, went inside, did a lap around the place, had a few drinks. GIBBS: Petty Officer Gordon was with you the whole time? (PASSAGE OF TIME) CARTER: Until he met a babe. GIBBS: Do you know her name? CARTER: No, Sir. Sorry. GIBBS: She and Gordon ht it off, huh? CARTER: Oh, yeah. GIBBS: What time did he leave? CARTER: Around midnight. With the girl. I figured he just went home with her. GIBBS: And you were headed for PAX River. (PASSAGE OF TIME) WONG: Our deal was if one of us got lucky, he was on his own in terms of getting back to base. GIBBS: That happen often? WONG: Not really. GIBBS: We found forty thousand dollars cash in Gordon's room. WONG: Forty thousand!? You're kidding. GIBBS: Any idea where he got all that money? WONG: No, Sir. GIBBS: What kind of car do you drive? (PASSAGE OF TIME) CARTER: Audi A-six. (PASSAGE OF TIME) BOWMAN: Three fifty Z. (PASSAGE OF TIME) MORGAN: Escalade. (PASSAGE OF TIME) WONG: Taurus. CUT TO: INT. OBSERVATION ROOM KATE: Taurus is one of the five cars that uses the tire. WONG: (V.O.) ...two years. CUT TO: INT. INTERROGATION ROOM ON PDA: TAURUS IS ON THE LIST GIBBS: Is your car on base? WONG: It was. I loaned it to my brother a few days ago. GIBBS: Where is he? WONG: On his way to Phoenix to visit a girl he met on the Internet. CUT TO: INT. SQUAD ROOM - DAY KATE: A bunch of guys go to a club, one of them meets a woman and leaves, then turns up dad. TONY: Their stories are pretty consistent. GIBBS: A little too consistent. TONY: Do you think they're lying? GIBBS: I think they're well rehearsed. KATE: But if that's what really happened and they're telling the truth, then their stories should match. GIBBS: They all gave a consistent description of the mystery woman. Eyewitness accounts always widely vary. KATE: These guys are in the military, Gibbs, so you'd expect more accuracy from them than you would the general public. GIBBS: They're storekeepers, Kate, they're not SEALs. We know what happened to Gordon. What happened to the girl? KATE: We have no name and the description was basically, "she's super hot." So it doesn't narrow it down much. TONY: Except for Wong, for second class Petty Officers, those guys have some pricey rides. GIBBS: Put out an APB on Wong's Taurus, and talk to Antwane Mann... two n's. MUSICAL BRIDGE TO: INT. BEAUTY SHOP - DAY MANN: What can I do for you, brother? Haircut? Manicure? A waxing? TONY: Definitely not a waxing. How about you, Kate? KATE: I'm Special Agent Todd, NCIS. This is Special Agent DiNozzo. Are you Antwane Mann? MANN: Proprietor of Soul Clips. TONY: Kind of ironic. MANN: What's that? TONY: You've got a hair salon and you're bald. MANN: I'm not bald. TONY: You're taller than your hair. MANN: I shave my head. TONY: It just seems redundant. KATE: We understand that you were working the door last night at the Darin Spotnitz party. MANN: That's right. My man, Darin. Boy knows how to throw a party. KATE: So you work as a bouncer and you own this business? MANN: Hey, I don't plan on working forever. I want to retire at fifty. KATE: How are you going to do that? MANN: Ah, by investing. KATE: Really. In what? TONY: Kate, the pictures? KATE: Oh, right. TONY: I want to show you a few pictures to see if you remember any of them from the club last night. MANN: That's a waste of time. There were over five hundred peop - hey, I remember him! I notice people's hair. You know, him and his buddies were the only ones who had cuts like that. TONY: Are these the buddies that were with him? MANN: Yep. KATE: Do you remember what time he left? MANN: He didn't. He came in the club around eleven o'clock. They found him dad a few hours later. KATE: So he didn't leave with a woman around midnight? MANN: No. (bat) But he did. (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - DAY TONY: Why would all four lie about who left with the woman? KATE: To protect Wong. Or the woman. GIBBS: Or themselves. TONY: From what? GIBBS: That is the forty thousand dollar question. We're missing something. The evidence doesn't make sense. KATE: Haven't you already run every known trror1st through this program? GIBBS: I'm running it again. TONY: We know Gordon was purposely run down in the parking lot, probably died from a fractured skull, and somebody hid his body in the warehouse ceiling. KATE: The forty thousand we found hidden in his room gives someone a motive. TONY: A motive for who? For what? I mean, nothing ties into the money. KATE: Do you want us to bring in Wong? GIBBS: Nope. Not until we know where that forty thousand dollars came from. TONY: What do we do? GIBBS: The same thing Deep Throat told Woodward and Bernstein. Follow the money. (PASSAGE OF TIME) TONY: Something's bugging me about the money. It's not just forty thousand dollars in cash. It's forty thousand dollars in non-sequential hundred dollar bills. KATE: So? TONY: Well, why all hundreds? If it was drugs it wouldn't be all hundreds. Or gambling, or even theft. KATE: You're right. TONY: Where would you go to get all hundreds? KATE: Bank. TONY: Hmm. And what makes you go to a bank requesting non-sequential hundred dollar bills? KATE: Ransom? TONY: Blackmail? KATE: Blackmail's good. Who was he blackmailing? TONY: I have no idea. CUT TO: INT. OUTER LAB - DAY (MUSIC PLAYS B.G.) ABBY: This program rocks. It includes vault, fall, yaw, tip over, roll over, combined speed, linear momentum... GIBBS: Abby... ABBY: Oh come on, Gibbs. You know you love it when I talk tech. GIBBS: What do you got? ABBY: Well, at first I thought the latex might have come from the car. But the latex primer used in the car is located in the undercarriage which he never ht. So he had to have been wearing the latex. GIBBS: I already knew that. ABBY: Yes, but that was speculation. This is confirmation. GIBBS: Okay, what else? ABBY: I used the victim's measurements and the location of his injuries to determine the height of the vehicle based on point of impact. And then I used a database for vehicle grill dimensions. Can you believe someone put together a database of vehicle grill dimensions? GIBBS: I was about to call Ripley's. ABBY: I had this boyfriend once - not the balloon guy - but this one was like a computer genius. He put together a database of databases. Well, it seems obvious in retrospect, like the pet rock. GIBBS: Abby... ABBY: Yes? GIBBS: You're spending too much time talking to Ducky. ABBY: Okay, bottom line... the car that ht Gordon was definitely a Taurus. GIBBS: You're positive? ABBY: Absolutely. Unless... it was a Mercury Sable. CUT TO: INT. SQUAD ROOM - DAY TONY: Huh. KATE: Did you find something interesting? TONY: A prepaid phone card. Why would you have a pre-paid phone card if you have a cell phone? KATE: Well, I can think of one reason. Phone cards aren't possible to trace. TONY: Unless you physically have the card. KATE: So you think maybe he used his phone card in his blackmailing scheme to cover up his tracks? TONY: That's what I'd do. KATE: So if we trace his calls... TONY: We should have a pretty good idea of who he was blackmailing. (PASSAGE OF TIME) TONY: A list of calls sorted by phone number and frequency of calls. KATE: Who's number one? TONY: Bartex Corporation. KATE: What do they do? TONY: Let's Google them and find out. (SFX: KEYBOARDING B.G.) TONY: There we go. (READS) Bartex Corporation is a diversified conglomerate deriving revenues from a number of wide-ranging industries: paper and forest products, natural gas distribution, aerospace, defense... KATE: (OVERLAP) Skip to that. TONY: (READS) Bartex was recently awarded a two hundred million dollar design contract for the next generation of carrier fighter jets by the U.S. Navy. KATE: Ha. TONY: Things get curiouser and curiouser. KATE: Seems like we're back to kickbacks. TONY: But Master Chief Nutter said that Gordon wasn't high enough on the food chain for kickbacks. KATE: Maybe he was lying. TONY: Or maybe Nutter was taking kickbacks from the Bartex Corporation, Gordon found out and started blackmailing him. KATE: That works. GIBBS: Tony, did you check out all the Tauruses that have parking permits at PAX River? TONY: Ah, yeah. All except for Wong's, which is allegedly somewhere between here and Phoenix. The A.P.B.'s haven't turned up anything. GIBBS: Did you check Mercury Sables? TONY: No. (bat) But they're the same car. I have a list of permits here. Four Sables have base permits. And this is interesting. Master Chief Nutter drives a Sable. GIBBS: Why is that interesting? KATE: We think that when Gordon found out that Nutter was taking kickbacks, he blackmailed him. TONY: It gives him motive, mrder wapon and accounts for the cash. GIBBS: Easy enough to find out. All we have to do is look at his car. Let's go. CUT TO: EXT. PARKING LOT - DAY GIBBS: Is the Master Chief around? MORGAN: No, Sir. GIBBS: Know where we can find him? MORGAN: He didn't say where he was going. TONY: Well what do you do if there's an emergency and you need to get a hold of him? CARTER: We call his cell, Sir. CUT TO: INT. INNER LAB - DAY (SFX: PHONE RINGS) ABBY: (INTO PHONE) Talk to me.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Hey, Abs. Gibbs. (SCENE CUT) GIBBS: (V.O./FILTERED) If I give you a cell phone number... (SCENE CUT) GIBBS: (INTO PHONE) ...can you trace it and give me a location? (SCENE CUT) ABBY: (INTO PHONE) Uh, yeah. As long as it's a newer phone with a GPS chip and not one of those ancient old bricks. (SCENE CUT) GIBBS: (INTO PHONE) How accurate? ABBY: (V.O./FILTERED) Within a hundred meters. GIBBS: (INTO PHONE) Do we got to jump through any legal hoops? (SCENE CUT) ABBY: (INTO PHONE) Oh, it's kind of a gray area. (SCENE CUT) GIBBS: (INTO PHONE) How gray? (SCENE CUT) ABBY: (INTO PHONE) Charcoal. (SCENE CUT) GIBBS: (INTO PHONE) How long does he have to stay on? (SCENE CUT) ABBY: (INTO PHONE) All he has to do is answer. (SCENE CUT) GIBBS: (INTO PHONE) Okay, here's the number. (SCENE CUT) GIBBS: (V.O./FILTERED) Area code seven zero two, five five five, zero one two seven. (SFX: TELEPHONE BEEP TONES) ABBY: (INTO PHONE) Okay, it's dialing. NUTTER: (V.O./FILTERED) Hello? Hello? Hello? ABBY: (INTO PHONE) Okay, he's at eighteen thousand nine hundred... (SCENE CUT) ABBY: (V.O./FILTERED) ... Beallsville Road. GIBBS: (INTO PHONE) Any idea what's there? (SCENE CUT) ABBY: (INTO PHONE) Bartex Corporation. (END TELEPHONE INTERCUTS) CUT TO: EXT. PARKING LOT - DAY (SFX: TIRES SCREECH/HORN HONKS) (CAR DOORS OPEN/CLOSE) NUTTER: Agent Gibbs, what are you doing here? GIBBS: I was going to ask you the same thing. NUTTER: Personal business. GIBBS: Do you care to elaborate? (bat) Look, you can talk to me now or we can do this in front of Admiral Barnes. It's your choice. NUTTER: Bartex is one of our vendors. GIBBS: And? NUTTER: Can we keep this between us? GIBBS: Nope. NUTTER: They've offered me a position with their company and I'm seriously considering taking it. I didn't want to let anyone know until I made my final decision. GIBBS: Pop the hood of your car. NUTTER: Why? GIBBS: Because I asked. (SFX: HOOD POPS) TONY: No body work. KATE: The windshield is original equipment according to the manufacturer's specs. It hasn't been replaced. TONY: No way this car ht Gordon. CUT TO: INT. CAR - DRIVING (SFX: CARS HONK B.G.) TONY: Forty mile zone ended two miles back, boss. It's under sixty five. I only mention it because you usually drive slightly faster than Dale Earnhardt Junior. Boss? GIBBS: What? TONY: Do you want to stop for a burger? GIBBS: No! KATE: Gosh, I would have bet a month's salary it was Chief Nutter. TONY: You would have lost. KATE: I always lose when I bet. TONY: Don't tell me. You had the Cubs. KATE: Red Sox. TONY: Ah, she bet on the Sox, boss. GIBBS: Not again. We are not going to lose again! (SFX: CAR TIRES SCREECH) GIBBS: We are going back to that warehouse and we are staying until we nail whoever ht Petty Officer Gordon. CUT TO: EXT. WAREHOUSE - DAY (SFX: CAR TIRES SCREECH TO A STOP) (CAR DOORS OPEN/CLOSE) GIBBS: They lied about coming in one car. Wong's Taurus ht Gordon. They made up the story about his brother. KATE: They? Not Wong? GIBBS: They were in it together. KATE: Okay, so they were all in a conspiracy to do what? kll their buddy for forty grand? GIBBS: Maybe. Or maybe they just wanted payback. KATE: You lost me, Gibbs. TONY: Me too, boss. GIBBS: Tony, you check out this lot next door? TONY: Uh...a hundred meter perimeter search didn't reach the lot. GIBBS: (OVERLAP) Then we do two hundred! TONY: What are we looking for? GIBBS: Answers! TONY: Do you have plans tonight? KATE: Not really. TONY: Good, because the last time Gibbs was like this I didn't go home for a week. KATE: The sad part... that would actually be an improvement over my social life. (KATE WALKS TO THE FENCE) KATE: Gibbs! GIBBS: Tony? Looks like our latex. KATE: Must have gotten snagged when somebody slipped through the fence into the parking lot. GIBBS: Not someone. Petty Officer Gordon. Okay, flash and bag it. TONY: Any idea what this stuff is? KATE: Of course. TONY: What? KATE: Evidence. TONY: That's a good one, Kate. (PASSAGE OF TIME) TONY: I don't know, boss. This lot is trashed. GIBBS: It's got to be fresh, Tony. Less than forty eight hours old. TONY: Wow, what you got, boss? GIBBS: Maybe something. TONY: Do you think that was left by our four musketeers? GIBBS: Oh, yeah. KATE: Damn it, Gibbs. If you know what happened, tell us. GIBBS: Patience, Kate. Patience. All right, keep looking everybody. Watch your step. KATE: He doesn't know. TONY: Want to bet? GIBBS: Kate, get a photo. KATE: Yeah. TONY: I've got some fresh butts over here. Petty Officer Morgan smoked. KATE: And Petty Officer Carter. TONY: We'll get DNA from this. Looks like they had some kind of tripod over here. KATE: Are you about ready to tell us what you're thinking? GIBBS: They filmed it. KATE: Filmed what? (MUSIC OUT) FADE IN: INT. AUTOPSY ROOM - DAY (SFX: DRAWER SLIDES OPEN) GIBBS: Not a pretty sight, is it? MORGAN: Did you have to cut him up like that? DUCKY: Oh, yes. An autopsy is required in a mrder investigation. CARTER: Sir, can I please be excused? GIBBS: Oh, that chance ended three days ago, Petty Officer Carter. DISSOLVE TO: INT. OBSERVATION ROOM - DAY TONY: Twenty bucks Carter wets his pants before Morgan. KATE: Think this'll work? GIBBS: Oh, it'll work. Do you have my videotape ready? KATE: Abby's cleaning it up right now. GIBBS: All right. Let's do this. CUT TO: INT. INTERROGATION ROOM - DAY (DOOR OPENS/ CLOSES) TONY: They never put four people in the same interrogation room - ever! Do you want to know why? KATE: Because we don't want them comparing stories or conspiring to hide the truth. TONY: But in your case we're willing to make an exception. GIBBS: I know what happened. Now it's just a question of time. KATE: As in how much time you'll spend at Leavenworth if you don't cooperate with us. CARTER: It was all a joke. It was just a stupid-- WONG: Shut up, Carter. I want a lawyer. GIBBS: You know, if I was you, Wong, I'd want a lawyer, too. MORGAN: What if we cooperate, Sir? WONG: Morgan, all they have is a strip of rubber. If they can charge us, they would have already. TONY: (V.O.) What about your car, Wong? KATE: Do you know how hard it is to wash blood stains off a car these days? WONG: Are you saying you have my car? TONY: Are you saying we don't? WONG: There's no way you have my car. KATE: Are you sure about that? WONG: What is this, bad cop, dumb cop? My car is long gone. My brother-- GIBBS: I don't need your car. I have this. (DOOR OPENS) KATE: Never put anything on videotape that you don't want to be seen. TONY: Just ask Paris Hilton. GIBBS: You had your chance to come clean. It could help with the sentencing. CARTER: Wait. I'll talk, Sir. MORGAN: It was an accident. We didn't think anyone was going to get hurt, Sir. GIBBS: Whose idea was it? BOWMAN: It was Gordon's, Sir. He was planning it for months. It was payback for the time when Wong set him up on a blind date with a trnsvstite. WONG: Don't you see what they're trying to do here? We have to-- CARTER: Gordon is laying on a slab down there because of us, Wong. MORGAN: Yeah, maybe you can live with that. I can't. GIBBS: Who was the girl? Somebody's girlfriend? Hooker? BOWMAN: She was a call girl, Sir. DISSOLVE TO: INT. CLUB - FLASHBACK GIBBS: (V.O.) You hired her to lure Wong out of the club into the parking lot for your joke.(MUSIC B.G.) ZOE: Oh! I'm sorry! Or maybe not. Do you want to dance? Come on! (WONG AND ZOE DANCE) ZOE: Is your car in the parking lot? WONG: Yeah. ZOE: Let's go!(ZOE AND WONG WALK FROM THE CLUB) GIBBS: (V.O.) That must have been some girl, Petty Officer Wong. DISSOLVE TO: INT. INTERROGATION ROOM - DAY GIBBS: Who was in charge of the set up in the vacant lot? MORGAN: It was me and Gordon, Sir. DISSOLVE TO: EXT. PARKING LOT - FLASHBACK GORDON: This is going to be legendary! MORGAN: Yeah it is, dude. Let's do this. GORDON: Man, Wong is going to piss his pants! (LAUGHTER) CARTER: Hurry up, man. She's going to bring him out, soon. MORGAN: Hey, where's the camera? CARTER: I thought you had it. MORGAN: You left it in the car, you moron! Let's go! DISSOLVE TO: INT. INTERROGATION ROOM - DAY GIBBS: Seems like you guys had it all organized. What went wrong? BOWMAN: Wong panicked, Sir. DISSOLVE TO: EXT. PARKING LOT - FLASHBACK (WONG AND ZOE KISS ON CAMERA MONITOR) CARTER: You go, girl! It's show time. CUT TO: INT. WONG'S CAR - FLASHBACK ZOE: What's wrong? WONG: Did you see some lights? ZOE: No. CUT TO: EXT. PARKING LOT - FLASHBACK MORGAN: (INTO PHONE) Cue the dry ice. Tell Gordon to haul ass. (MUSIC OVER ACTION/WATER VAPORIZES ON DRY ICE) MORGAN: Wong is going to have a heart attck! DISSOLVE TO: INT. INTERROGATION ROOM KATE: You don't seem like the type that scares easily, Petty Officer Wong. WONG: I didn't know. I didn't know it was Chris. DISSOLVE TO: INT. WONG'S CAR - FLASHBACK ZOE: What's that sound?! (SFX: LIGHTS CLICK ON) WONG: What the hell is that? ZOE: Oh, my god! Oh, he's coming right at us! Do something! WONG: Where the hell are my keys?(ZOE SHRIEKS B.G.) WONG: I can't find my keys!(LAUGHTER) (SFX: CAR STARTS) (SFX: CAR TIRES SCREECH) (MUSIC OVER ACTION/CAR CRASHES INTO MORGAN) DISSOLVE TO: INT. INTERROGATION ROOM - DAY MORGAN: He was our best friend, Agent Gibbs. CARTER: And we klled him. GIBBS: That was a pretty good practical joke. Too bad your buddy died. WONG: It was an accident, Sir. GIBBS: What about the forty grand? Are you telling me no one knew about that? BOWMAN: Sir, none of us had any idea that Gordon had that kind of money. MORGAN: We never should have tried to hide the body. But it was an accident, Sir. GIBBS: Is that true, Petty Officer Wong? No one knew about it? WONG: The only thing I am guilty of here is manslaughter. You saw the tape. GIBBS: Is he talking about this tape, Tony? TONY: I think he is, boss. GIBBS: Oh, this isn't your tape. KATE: But you're in it, Wong. (VIDEOTAPE PLAYS) GIBBS: Twenty two year olds cashing forty thousand dollar inheritance checks is something bank tellers tend to notice. Hmm. You noticed it too. WONG: It was... it was an accident. GIBBS: We have a witness. (DOOR OPENS) KATE: Did Wong know that it was a prank? ZOE: Mm-hmm. KATE: How much was he giving you to keep your mouth shut? ZOE: A thousand dollars. CARTER: He knew it was a prank? ZOE: He said his friend was trying to get even with him. BOWMAN: You knew it was Chris. MUSICAL BRIDGE TO: INT. SQUAD ROOM - NIGHT TONY: Hey, you got any plans tonight? KATE: I did. Too late now. TONY: Want to grab some Chinese at the new place down the street? KATE: Sure. Want to ask Gibbs? TONY: He's busy. KATE: Doing what? TONY: Same thing he does every night. (MUSIC OVER ACTION/PICTURES FLASH ON THE SCREEN) (MUSIC OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x17 - The Truth is Out There"}	foreverdreaming
FADE IN: INT. BEDROOM - NIGHT VICKI: Rod! Wake up! ROD: What? VICKI: I heard a noise. Come on, aren't you going to check? ROD: Check what? VICKI: That. ROD: (V.O.) It's probably just Bella. (PASSAGE OF TIME) VICKI: Rod? Rod? Damn it, Rod! Why didn't you answer me! You scared the heck--! JACK: Turn over and lay on your stomach. Do as I say and you won't get hurt. Do it. (MUSIC OVER ACTION/MAN DISROBES) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "UnSEALeD" (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) TONY: It's three o'clock in the morning, you hear a strange noise in your house. What do you do? KATE: I slide a pstol from under my pillow and I go after the guy. TONY: I'm talking about real people, Kate. Why do they always feel the need to go and look? KATE: It's called human nature, Tony. TONY: Ah, let me guess. You're that person in a horror movie that decides since all your friends are dad, you really need to go check out the demonic breathing noise down in the basement. KATE: Well, that beats being the girl who twists her ankle and gets everybody else klled. TONY: You sleep with a gn under your pillow every night? KATE: That depends. TONY: On what? KATE: On who I'm sleeping with. (bat) (TO GIBBS) Um, I'm sorry. I didn't mean that the way it sounded. Tony just asked me what I would do if a man came into my bedroom and I said it depends. I mean, it doesn't depend on the man. Tony, could you help me out here, please? TONY: She sleeps with a gn, boss. GIBBS: Is that true? KATE: Sort of. Sometimes. Yes. GIBBS: Good girl! What do we know about last night? KATE: Not much. The fugitive is a former SEAL named Jack Curtin. He somehow managed to escape from Leavenworth and nobody seems to know how. TONY: We do know he broke into a house at zero three forty and scared the hell out of two civilians before stealing the guy's clothes. GIBBS: Get me everything on him... birth to last night. TONY: I thought Leavenworth was Army C-I-D jurisdiction? GIBBS: C-I-D's gonna search where he's been. We're gonna find out where he's going. Have Leavenworth pack up Curtin's cell, overnight it to Abby. I want everything but the paint on the walls. KATE: You got it. TONY: Do we know what this guy was in for? GIBBS: Same thing I'm gonna be if you don't get your ass moving. TONY: Right. (WHISPERS TO KATE) mrder? KATE: And you didn't even use a lifeline. CUT TO: EXT. HOUSE - DAY KATE: What makes you so sure he's not running to Canada or Mexico? (SFX: CAR DOOR CLOSES) GIBBS: He spent a year in pretrial confinement. If he wanted to run, he wouldn't have waited 'til he was sent to Leavenworth. KATE: Well, if he wanted to kidnap his kid, he could have done that back then, too. GIBBS: Well, yeah. There is that. KATE: So why are we here? GIBBS: I want you to keep an eye on his son 'til I can arrange for a protection detail. KATE: Is that a nice way of saying babysit? GIBBS: Hey, you're catching on. (V.O.) Has your grandson... CUT TO: INT. DINING ROOM - DAY GIBBS: ... received any calls or letters from his father recently? MR. DONALDSON: No. If he did, I wouldn't let him hear or read them. KATE: Has he had any contact with his father since you were awarded custody? MR. DONALDSON: We were granted custody because his father mrder two people. One of them was his mother... our daughter. So why would we give him visitation? MS. DONALDSON: You think Jack might try to contact Kevin. GIBBS: It's a possibility. MS. DONALDSON: Oh, my god. He might even... KEVIN: I'm going to go out front. MS. DONALDSON: I'll take you out in a few minutes, Kevin. KEVIN: I can go by myself. MR. DONALDSON: We're almost done. KEVIN: I want to go now! MR. DONALDSON: With that attitude you're not going anywhere. GIBBS: Nice board. Mind if I check it out? KEVIN: Yeah, I do. MS. DONALDSON: He's angry. GIBBS: Yeah, I don't blame him. MR. DONALDSON: All he does is ride that skateboard or sit by himself and draw. GIBBS: His father is probably running for a border. But I'm going to leave Agent Todd here for a while. If the phone rings, you let her answer it. CUT TO: INT. NCIS LAB - DAY GIBBS: Are you on a roll? ABBY: Aren't I always? GIBBS: I guess you don't need this then, huh? ABBY: Ooh. You need it. I like it. GIBBS: Kate get you the stuff from Curtin's cell? ABBY: It's on its way. Kate rules. GIBBS: I thought Abby ruled. ABBY: Good women don't mind sharing a throne, Gibbs. GIBBS: How about just sharing what you found, Abs. ABBY: I will... when I find it. I'm still downloading the SAINT data from Leavenworth. GIBBS: Hmm. That's one acronym I don't know. ABBY: It's like Lojack for inmates. It should be able to tell us when and where our chicken flew the coup. GIBBS: I am much more interested in how and with whose help. ABBY: Got it. GIBBS: Good. CUT TO: INT. JAG CONFERENCE ROOM - DAY FAITH: I haven't had anything to do with Petty Officer Curtin since I prosecuted the case. TONY: Where did he run after the mrder? FAITH: He didn't. He was the one who called the police. TONY: He called the police on himself? FAITH: Insisted he was innocent. Claimed he came home and found them dad. TONY: Victim of circumstance. FAITH: He said his wife might have been involved with drug dealers. It all fell apart pretty fast. TONY: Did he end up confessing? FAITH: No. But he had both victim's blood all over him and his fingerprints were on the mrder wapon. It was pretty obvious what happened. He came home, found his wife upstairs with the cable guy and lost it. TONY: I guess he picked the wrong housewife to give a free upgrade, huh? FAITH: Is that your idea of humor, Special Agent DiNozzo? TONY: Is that your idea of a sharp pencil? You know which one I'm talking about. You're not going to poke anyone's eye out with that one. FAITH: Are we finished here? TONY: Was the cable guy doing the missus? FAITH: Actually, he really was just fixing the cable. Curtin was just paranoid and freaked. TONY: Why wasn't he on death row? FAITH: He was granted leniency due to post traumatic stress. TONY: From the cable going out? (bat) Slightly amusing? Come on, counselor. You've got to give me something to work with here. FAITH: I have clients to see, Agent DiNozzo. TONY: Why did Curtain freak? FAITH: Everyone thinks because the Taliban fell fast, it was a cakewalk. But for the guys over there, it was anything but. TONY: Anybody testify on his behalf? Someone he would go to for help? FAITH: Curtain HALO'd into Afghanistan on September twelfth with nothing but an MP five, a K bar Knfe and a radio. He doesn't strike me as the kind of guy who needs help. TONY: I appreciate your help, Commander Coleman. It's been a lot of laughs. (TONY WALKS TO THE DOOR) TONY: (LAUGHS) Now that's funny! CUT TO: INT. SQUAD ROOM - DAY TONY: Petty Officer First Class Jack Curtain... he's hardcore, boss. GIBBS: Yeah? What's your definition of hardcore? TONY: Grew up in foster homes. Enlisted at seventeen. Went from boot camp to BUDS, which is unusual. Went through hell in Afghanistan, which apparently isn't. His entire SEAL team showed up at his trial as character witnesses. GIBBS: Where's his team now? TONY: Mostly deployed. GIBBS: Tony, I'm going to need you to go... TONY: ... track him down and see if Curtin contacted them? Or I could let you finish your question. GIBBS: You have the name of the team commander? TONY: Current or past? GIBBS: Both. TONY: Current's location is classified. SatCom can be arranged as soon as he becomes available. When that will be is... GIBBS: Classified. TONY: Unknown. Past is stationed at Little Creek. Commander William Foley. GIBBS: Where exactly at Little Creek? TONY: Uh... there, exactly. It's a brave new world, boss. CUT TO: EXT. AMPHIBIOUS BASE - DAY FOLEY: Well if he's looking for help from an old teammate, he'll have to go to Iraq to get it. GIBBS: You're here. FOLEY: Hazards of promotion. GIBBS: Did you have any contact with Curtin since his conviction? FOLEY: Not. Not that I'd avoid it. Jack was a good man. GIBBS: He's convicted of klling two people. FOLEY: Agent Gibbs, you know what it's like to spend every free moment dreaming about being home again, hugging your wife, hearing your kids laugh, only to come home and learn it's all gone? GIBBS: It doesn't justify mrder. FOLEY: I didn't say it did. Anything else? GIBBS: Not for the moment. FOLEY: That's very Jack Webb. GIBBS: Thanks. CUT TO: INT. SQUAD ROOM - DAY ABBY: Curtin, definitely did his homework. GIBBS: You got my attention, Abs. How'd he get out? ABBY: According to the computer, he didn't. GIBBS: I hate riddles. ABBY: SAINT tracks both inmates and guards through a single source data system with compares information on a digital smartcard that every inmate is required to carry with some aspect of their physiology. GIBBS: How about an explanation that doesn't require a digital smartcard? ABBY: Okay. You got a fingerprint. You got a card. You swipe, you press, match-match. The computer knows who you are and where you are. The readers are in every cell and every entryway locations within the prison. So there's no need for bed checks or roll calls. You save time. You save money. Everybody wins. GIBBS: Until an inmate hacks the system. ABBY: Until an inmate hacks the system. GIBBS: It was maximum security. They don't get pencils, much less a laptop. ABBY: Yes, but they do give them toothpaste. At first I thought he molded a duplicate of his finger, but... GIBBS: The guard's finger. ABBY: That's what I love about you, Gibbs. Always one finger ahead. GIBBS: Find out which guard. ABBY: I already have. SAINT has the guard logged at the prison laundry for the last twenty two hours. Which is odd for several reasons, but especially because it was his day off. GIBBS: Curtin used the fake finger to get to the laundry. ABBY: Then he hid in a hamper and went out with the whites. GIBBS: How'd he get the guard's finger to make the mold? ABBY: Easy. Kicked sand in his face. Watch this. (MUSIC OVER ACTION/VIDEO PLAYS) ABBY: Curtin did a few fingertip pull-ups. And then challenged the guard to do the same. GIBBS: I'm guessing that's not dirt he found above the door. ABBY: And I'm guessing that you're looking in the wrong direction just like the guard. Watch. (MUSIC OVER ACTION/VIDEO PLAYS) (SFX: COMPUTER BEEP TONES) GIBBS: So a finger he made of this fooled the computer. ABBY: The biometric readers note lines and ridges in three dimensions. They don't check for a pulse. GIBBS: A finger's useless without the smartcard that goes with it. ABBY: The guard lost his card two weeks after Curtin arrived. In the incident report he claimed that his dog ate it. GIBBS: That didn't work for me in the sixth grade. ABBY: You're a late bloomer, Gibbs. It didn't work for me in the second. GIBBS: They don't have a way to disable lost cards? ABBY: They do, but they didn't. GIBBS: Guess they figured, without the finger... ABBY: Exactly. GIBBS: Well, they fingered wrong. CUT TO: INT. LIVING ROOM - NIGHT (SFX: THUMPING NOISES B.G.) KATE: (INTO RADIO) McGee. (BEGIN RADIO INTERCUTS) (SCENE CUT) KATE: (V.O./FILTERED) Kate. Checking out a noise in the kitchen. (SCENE CUT) MCGEE: (INTO RADIO) Roger. Standing by. (END RADIO INTERCUTS) CUT TO: INT. KITCHEN - NIGHT (MUSIC OVER ACTION/KATE WALKS SLOWLY THROUGH THE HOUSE) (KATE BURSTS THROUGH THE DOOR/ TURNS QUICKLY) KATE: (BREATHLESSLY) Kevin! What are you doing? KEVIN: Nothing. KATE: Oh, geez. (INTO RADIO) Code four, McGee.(BEGIN TELEPHONE INTERCUTS) CUT TO: INT. CAR - PARKED KATE: (V.O./FILTERED) Just a little spilled milk. MCGEE: (INTO RADIO) Roger that. CUT TO: INT. KITCHEN - NIGHT KATE: You've got to get back to bed, buddy. It's late. KEVIN: I'm hungry. KATE: Have a piece of fruit. KEVIN: I hate fruit. KATE: Bananas. They're the closest thing to not being a fruit than a fruit can be. I'm not sure what that means either. Just go to bed. KEVIN: What about the floor? If my grandma sees this, she... KATE: Don't worry about the floor. I got it, okay? It's not a big deal, all right? I've got the floor. You just need to go back to bed and take-- (JACK ENTERS THE KITCHEN) JACK: One word and the milk won't be the only thing spilled on the floor. (MUSIC OUT) FADE IN: INT. LIVING ROOM - NIGHT KATE: The whole neighborhood is under surveillance. You'll never get away with him. JACK: I didn't come here to take him away. I came to say goodbye. I never got a chance to say goodbye. KATE: You could've just called. Written a letter. JACK: You don't have kids, do you? He needs to know that I love him, and that this is the best place for him now. KATE: So you can run away without feeling guilty? JACK: I shouldn't have to run at all. Open your mouth. Open wide. Okay. There you go. It's not too tight. (JACK TIES UP KATE) CUT TO: INT. BEDROOM - DAY KEVIN: Is it scary in jail? JACK: Sometimes. KEVIN: Cause there's guys bigger than you? JACK: Well, there's a lot of different reasons. Do you think about your mom a lot? KEVIN: Yeah. JACK: So do I. CUT TO: INT. LIVING ROOM - NIGHT (MUSIC OVER ACTION/KATE STRUGGLES WITH HER TIES) CUT TO: INT. CAR - NIGHT MCGEE: (INTO RADIO) Kate, McGee. You got a SITREP for me? CUT TO: INT. LIVING ROOM - NIGHT MCGEE: (V.O./FILTERED) Kate, are you there? Come in. KEVIN: No, don't go! JACK: I have to. KEVIN: No, Dad. Please. CUT TO: INT. CAR - NIGHT MCGEE: (INTO RADIO) Radio check. Kate, are you there? (DOOR OPENS) CUT TO: INT. LIVING ROOM - NIGHT (MUSIC OVER ACTION/KATE STRUGGLES WITH HER TIES) (MCGEE ENTERS AND UNTIES KATE) MCGEE: Where is he? KATE: Back bedroom with Kevin - my hands - give me your phone. (INTO PHONE) This is NCIS Special Agent Todd. We need immediate assistance at ten six hundred Vintin. We've got an armed Federal escapee inside the house. (MUSIC OVER ACTION/MCGEE AND KATE MOVE THROUGH THE HOUSE) MUSICAL BRIDGE TO: INT. BEDROOM - NIGHT (DOOR OPENS) MCGEE: Clear! KEVIN: Don't sh*t him! KATE: I'll help you. Come here, bud. MR. DONALDSON: What's going on? KATE: He was here. Now he's gone. KEVIN: No! MR. DONALDSON: Kevin... KATE: It's okay. MR. DONALDSON: Kevin, are you all right? KEVIN: (V.O.) Let me go! KATE: Go after him. I'm going to go back out front and see if he parked his car. MCGEE: I'll-- KATE: No! Tell them you found his car. On the radio... notify the team. Tell them you found his car and you've got it covered. MCGEE: Okay. KATE: Kevin, do you know where your father's going? MCGEE: (INTO PHONE) Bravo Four, this is Bravo One. CUT TO: EXT. HOUSE - NIGHT MCGEE: (V.O./FILTERED) We found Curtin's vehicle. We've got it covered. Repeat. We have found his vehicle. Standing by. VOICE: (V.O./FILTERED) Copy that. JACK: Damn! CUT TO: INT. BEDROOM - NIGHT MCGEE: Do you think it'll work? KATE: We'll find out. MUSICAL BRIDGE TO: EXT. STREET - NIGHT (SFX: CAR BRAKES TO A STOP) JACK: (SHOUTS) Stop! Get out of the car now! Get out of the car! DRIVER: Okay. Okay. (MUSIC OVER ACTION) (SFX: TIRES SCREECH) MCGEE: Out of the way! (SFX: gn) (SFX: TIRES SCREECH) (MUSIC OVER DRIVING ACTION) (SFX: gn) CUT TO: EXT. STREET - DAY GIBBS: Checkpoints up?(SFX: CAR DOORS OPEN/ CLOSE) MCGEE: On all the major roads. APB went out on the car that he got away in at zero four hundred. One of the deputies just found an old pick up with Missouri plates. Reported stolen yesterday morning. TONY: Sounds like our guy's. MCGEE: Impound it? Bring it to the garage? GIBBS: No, there's no time. Bag everything. Get it to Abby. MCGEE: Will do, Sir. GIBBS: Bag the windshield fragments, too. Get them to Abby. Then take photos. Both scenes. TONY: What are you doing down here? MCGEE: The main office needed a temporary refill. I was low on the pole. TONY: Yeah, we got a lot of people out sick. Some kind of gastrointestinal bug going around. You didn't use our toilet, did you? CUT TO: INT. LIVING ROOM - DAY KATE: Curtin snuck in last night. I didn't hear him. He came to say goodbye to his boy. GIBBS: And while he was saying goodbye? KATE: I was uh... tied up in the living room. He has my wapon. But I ht him with the gn. GIBBS: How bad? KATE: Don't know. GIBBS: Contact the ER's in the area. Tell them to be on the lookout for a G-S-V and get them Curtin's photo. KATE: Okay. GIBBS: Where's the boy? KATE: In his room. CUT TO: EXT. STREET - DAY TONY: Do you think he swam? MCGEE: Who? TONY: Leavenworth's in Kansas. The truck's from Missouri. Little thing called the Mississippi between the two. MCGEE: Well, actually there's a little thing called two hundred miles between Leavenworth and the Mississippi. Try the Missouri. TONY: Ah, same thing. Potato. Potato. All we know is this guy swam across a big ass river. MCGEE: You enjoy this, don't you? TONY: Having fun at your expense? MCGEE: Yeah. TONY: Really a lot. CUT TO: INT. BEDROOM - DAY (KNOCK ON DOOR) KEVIN: Are you going to arrest me? GIBBS: For helping your dad? Nah. We don't arrest boys for that. Thought you might be hungry. You know, when I was a kid we used to take roller skates apart and nail them onto boards. Pretty unbelievable, huh? Yeah, I'd be speechless too. I'm gonna guess that's your dad. Is he going to sh*t someone, Kevin? KEVIN: I don't want to talk about it. GIBBS: I understand that. The hardest thing for guys like us is talking. KEVIN: What do you mean, "guys like us?" GIBBS: I don't know. You just seem a little bottled up... like me. KEVIN: Everyone thinks I should just spew, you know? GIBBS: Yeah. Oh, yeah. Yeah, I know. KEVIN: What are you bottled up about? GIBBS: I let a guy get away from me. Bad guy. He sht one of my people. He sht me. KEVIN: Where? GIBBS: It bothers me that I can't find him. But I'm gonna find him. KEVIN: I'm not going to help you catch my dad. GIBBS: That's okay. (KEVIN CRIES) GIBBS: It's okay. CUT TO: EXT. STREET - DAY TONY: Ladies and Gentlemen, I want a hard target search of every residence, gas station, farm house, hen house, dog house and outhouse in the area, you got that? Good! Now turn off those cameras and get out of our way! MCGEE: The accent's still not right. TONY: Damn. MCGEE: It's too Arkansas. Tommy Lee's more Texas. You gotta think more untamed - in-your-face. CUT TO: INT. NCIS OUTER LAB - DAY GIBBS: Where's the stuff from Curtin's car? ABBY: It's there, but you're gonna want to see this first. I haven't done a precipitin yet, but unless someone else was sht recently inside the car that Curtin carjacked, I think Kate just unsealed our SEAL. First sht, too. GIBBS: How can you tell? ABBY: See the crenellated marks? That's caused from blood spray hitting a perpendicular surface at a pretty good clip. GIBBS: How do you know it was first sht? ABBY: The first sht ht home and caused the blood to splatter inside the car. The second... GIBBS: ...blasted the stained glass onto the street. ABBY: Stained glass. It's very spiritual, Gibbs. How severe a wound? ABBY: Hmm, from a close range blast with a double ought buck, and considering his position behind the wheel and the fact that he hasn't turned up dad yet, I'd say that he probably just got grazed or he's down to one arm. What are you looking for? GIBBS: This. ABBY: It's from the glove compartment. GIBBS: Yeah. I've never known anyone who kept gloves in there. ABBY: Well, now you do. Do you want to know why? GIBBS: Abby. ABBY: I don't like the sun. GIBBS: Abby. ABBY: So when I have to go put gas in my gar, I have these vintage elbow length gloves.. GIBBS: Black? ABBY: Yes. They match my black lace vintage parasol. GIBBS: The gas station. ABBY: Well, yeah. You can't be too careful, Gibbs, and you can't have an indoor gas station because of all the fumes. GIBBS: Abby? ABBY: Yeah? GIBBS: Can we move on? ABBY: Sure. That's a map of Washington, D.C. GIBBS: Mmm. A new one. ABBY: So? GIBBS: This one isn't. My guess is he didn't know he had a D.C. map in the glove compartment, so he bought a new one. ABBY: Hmm. CUT TO: INT. SQUAD ROOM - DAY GIBBS: Kevin obviously thinks is dad is out to sht somebody. He told me his dad is going to find someone then he's going to give himself up. TONY: Does he know who it is? GIBBS: No. He seems to know something about the plan after he finds him. KATE: If Curtin is like most roommates, he blames everyone but himself for his conviction. GIBBS: There is a new D.C. road map in the car he abandoned. TONY: Both of the JAG lawyers involved in his trial have D.C. addresses. GIBBS: What about the judge? TONY: Retired. Lives in El Paso. GIBBS: Curtin also did right by all three of them. Coleman didn't even contest the post-traumatic stress diagnosis, plus the judge was lenient in sentencing. TONY: So who's he after? KATE: Curtin told me he shouldn't have to run at all. GIBBS: He's always insisted he was innocent. TONY: So you're saying we should be looking for a one-armed man? KATE: Very funny. GIBBS: Maybe we should. TONY: Are you kidding, boss? GIBBS: The repairman really was fixing the cable, the lawyers were professional, the judge was fair. Maybe the one person that Curtin still has a beef with is the one who klled his wife. He's not running. He's chasing. (MUSIC OUT) FADE IN: INT. SQUAD ROOM - DAY KATE: Nothing from area hospitals. Still checking smaller clinics as well as doctor's offices. GIBBS: He could've seen a vet. KATE: Tony's marking that territory. TONY: (LAUGHS) Cute. KATE: I thought so. GIBBS: I didn't. TONY: Nothing from the vets, boss. GIBBS: A-P-B on the car? KATE: Nothing. GIBBS: I'm tired of hearing that word. KATE: We think Curtin's innocent, right? TONY: Maybe. KATE: Assume he's innocent for the sake of argument. TONY: Why? GIBBS: Because I said to. TONY: Innocent. Sure. Why not? Go on. KATE: If Curtin's innocent and he's going after the guy that mrder his wife and a cable repairman.... TONY: I don't think he cares about cable repairmen. KATE: If Curtin knows the mrder, why didn't he say so when he was arrested? TONY: He did. He said... he thought it might have been drug dealers. KATE: Generic. Not specific. He's going out to get someone specific now. GIBBS: He didn't know. He found out who slit their throats while he was in prison. What about the stuff that was in his cell? KATE: It'll be here in twenty minutes. But I have a list of everything that's coming. Curtin's cell had seven large file boxes containing appeals, police reports, detective notes, crime scene photos, phone records and an official trial record. GIBBS: He found something in one of these boxes that told him who klled his wife. TONY: If he's innocent. GIBBS: We're going to reinvestigate this case from top to bottom. Get both of those JAG lawyers in here. Kate, take prosecution. Tony, defense. KATE: On it. TONY: On it! GIBBS: (INTO PHONE) Central files. I need all our records on a mrder case three years ago. KATE: (INTO PHONE) Hi. GIBBS: (INTO PHONE) Petty Officer First Class Jack D. Curtin. I want to know who here investigated the case. No. No, you will not call me back. I'll hold. (TO MCGEE) What the hell are you doing? MCGEE: Um... GIBBS: Can you form a sentence, Agent McGee? MCGEE: The NCIS Investigator was Special Agent Clay Williamson, Sir. GIBBS: That's a good sentence. MCGEE: He's retired and living on a boat. Gets his mail every three months in Tahiti. GIBBS: What kind of boat? MCGEE: Uh... I don't know, Sir. But I was able to download his investigation from Central Files. GIBBS: I want the Evidence Custody document so we can get... MCGEE: Already on it, Sir. I can call Norfolk and have the evidence transferred here. GIBBS: How fast? MCGEE: Joint Forces Command has a helo shuttle to the Pentagon. GIBBS: Do it. MCGEE: Okay. Yes, Sir. GIBBS: You don't have to call me Sir. MCGEE: No, Sir. GIBBS: Lawyers! KATE: Commander Coleman is unhappily on her way. TONY: The defense lawyer told me to shove it. The message was actually delivered by his assistant, but he assured me it was verbatim. GIBBS: I want him here, DiNozzo. TONY: Boss, he's no longer at JAG. He's a four hundred dollar an hour Beltway lawyer with really nice shoes. GIBBS: DiNozzo, I don't care. I don't care if he's wearing Armani or Prada, or Ermin-something Zegna. Get his ass here! TONY: Ermenegildo Zegna, boss. Just so you know. MCGEE: Evidence is on its way.... boss. (PASSAGE OF TIME) CLARE: (V.O.) I'm going to own your house, Agent DiNozzo. TONY: I rent. CLARE: You know what the federal minimums are for aggravated asault under color of authority, kidnapping, false imprisonment? TONY: Well, you know, I don't. But I'm sure my boss, Special Agent Jethro Gibbs does. GIBBS: Very subtle, DiNozzo. TONY: shting him just seemed so ham fisted. GIBBS: Whatever it takes. Uncuff him so he can say hello to an old friend. FAITH: I prefer him in cuffs. CLARE: Wish I'd known that when we were at JAG. CUT TO: INT. EVIDENCE GARAGE - DAY GIBBS: I want every photograph, witness statement, lab report, autopsy report, and anything else you can find in these boxes reexamined. Petty Officer Curtin may be innocent now, but if we don't find who he's after, he will not be for long. FAITH: Innocent? GIBBS: I believe Curtin told his son that he escaped from jail to get the person who mrder his mother. FAITH: And what was he going to tell his son? I mrder your mother? CLARE: You had no eyewitnesses. No confession. FAITH: I had enough evidence to get a conviction. GIBBS: Guilty or innocent, you are both here to help us find who he is after before another mrder is committed. FAITH: Okay. If Curtin can prove he's innocent, why didn't he just tell the authorities? CLARE: Would you listen? FAITH: No. But if I was innocent, I'd keep telling people until someone did. I wouldn't escape from prison and go after the kller myself. CLARE: That's why women aren't allowed in the SEALs. FAITH: Because we think with the head on our shoulders? ABBY: (LAUGHS) They remind you of anybody? TONY AND KATE: (IN UNISON) No. ABBY: Me neither. MCGEE: Evidence from Norfolk. Top box is autopsy. The rest is evidence collected at the scene. GIBBS: Top box goes on the table for Ducky. Everything else goes to the lab. You take Abby with you. MCGEE: I'm on her. (bat) It. I'm on it, Sir. Sorry. (PASSAGE OF TIME) TONY: No drugs found in either victim's blood. Special Agent Williamson, who investigated, found he's sailing a thirteen meter ketch, boss. GIBBS: He must be married. You can't single hand a ketch. KATE: I take it you're not building a ketch in your basement. GIBBS: Of course not. The basement's too small. CLARE: You know, if I was getting five hundred an hour, I wouldn't care how long this little side bar went on, but since I'm pro bono, can we...? TONY: Special Agent Williamson had a drug tox screen done on the wife's hair. Nothing. GIBBS: Okay, Curtin's drug dealer idea didn't pan out. What did? CLARE: Curtin was convinced his wife was having an affair. FAITH: Petty Officer Curtin was paranoid. First drug dealers did it. When that didn't pan out, it was a lover. GIBBS: Was he paranoid? FAITH: Yes! CLARE: (OVERLAP) No! GIBBS: Proof? FAITH: Pass this please. The court appointed psychiatrist found Curtin experienced severe insomnia in Afghanistan. GIBBS: Who didn't? FAITH: Sleep deprivation can cause paranoia. TONY: So can a wife who's cutting another guy's jib. FAITH: Curtin's the type of guy who intimidates other SEALs. Who's going to make a move on his wife? KATE: Maybe she was the one making the moves. GIBBS: Where are her phone records? FAITH: There's nothing in them to indicate she had a lover. CLARE: Unfortunately she's right. I checked out every number that she called while he was overseas. TONY: Did you check her cell phone calls? FAITH: She didn't have a cell phone. KATE: That's odd. GIBBS: Everyone has a cell phone. I have a cell phone. CLARE: Well, she didn't. TONY: Evidently her husband thought she did. He subpoenaed every cell phone company in Virginia. Verizon, Sprint, A T and T Wireless and there's more. These are subpoenas for prepaid cell phone providers. Floor Four Wireless, Bingham Wireless, Sharkphone dot com, Zo-Phone dot com, No-Phone dot com. Houston, the cell phone has landed. Prepaid cell phone records for one Margaret Curtin from Upfront Phone dot com. KATE: And the date on the subpoena is four weeks ago. GIBBS: Court's adjourned. Thanks for your cooperation, counselors. Special Agent Todd will escort you out. Tony, get on those numbers. FAITH: You'll let me know how this turns out? KATE: Of course. CLARE: Afraid you put an innocent man in Leavenworth, Faith? FAITH: Yes. But innocent or not, I still kicked your ass. CUT TO: INT. SQUAD ROOM - DAY TONY: Hey Pacci.(SFX: DOORS SLIDE OPEN) PACCI: Hey, Tony. How's the shoulder? TONY: Getting there. PACCI: You got a minute, Gibbs? GIBBS: No, not really. PACCI: Working a hot case? TONY: Smoking! GIBBS: Tony. I'm going to check on Ducky, then Abby. Give me a call the second... TONY: ...I find anything. I got it, Boss. GIBBS: Pacci! What do you need? PACCI: Well, you're busy. This is a cold case. What's one more day? CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: I think I've got something useful from his accent. GIBBS: What? DUCKY: The trror1st. He had a definite Euro accent, but he occasionally used British syntax. I think his higher education was in the British Isles. Yeah, well that's all I have for the moment on that bastard. But on the one who did these mrder, I've just found something really useful. The M.E. misread the cause of death. You're thinking it was so obvious. A massive loss of blood from a kitchen Knfe when he sliced them from ear to ear. The attck was so vicious that both victims were nearly decapitated. GIBBS: That didn't cause their death? DUCKY: No. The M.E. missed that they both also... had fractures of the cervical spine. GIBBS: Their necks were broken. DUCKY: Precisely. Yes. The kller incapacitated each victim with a violent, and most likely fatal, twist of the head. GIBBS: Duck, I get the idea. DUCKY: Anyway, he slit their throats probably to cover up the fact that he knew how to kll with his hands. GIBBS: Like a Navy SEAL. DUCKY: Yes. GIBBS: (V.O.) Which brings us back to Petty Officer Curtin. CUT TO: INT. SQUAD ROOM - DAY TONY: I've said all along, he's guilty. GIBBS: Nothing in her cell phone records? TONY: If she got that cell phone to call her boyfriend, then he was working at the video store, the grocery store, the hairdresser, the dry cleaner or directory assistance. KATE: She only got the phone when her husband shipped out. GIBBS: What's the most frequently dialed number? KATE: Commander Foley's house. GIBBS: Curtin's C.O.? TONY: Only he was in Afghanistan with Curtin. Mrs. Foley confirmed Margaret Curtin called frequently, but it wasn't unusual. All the wives did it. GIBBS: The C.O.'s wife is a den mother when the unit's deployed. TONY: It's a dad end, Boss. GIBBS: That cell phone log is the only record Curtin had that no one else did, and he got that just before he escaped. Whoever he is chasing is at one of those numbers. We just have to find out which one. (MUSIC UP AND OUT) FADE IN: EXT. TENNIS COURTS - DAY KATE: If she was cheating on her husband, do you really think she'd tell the Commander's wife? TONY: Not if she was anything like the den mother I had. Talk about your bete noires. KATE: You were a Boy Scout? TONY: Cub. KATE: Ha! What'd they kick you out for? TONY: Trying to score Brownie points. (SFX: GATE OPENS) TONY: Ooh, not the brunette in the little red number.(SFX: TENNIS B.G.) KATE: Yep. TONY: She is absolutely nothing like my den mother. MRS. FOLEY: (V.O.) You really should talk to my husband. (PASSAGE OF TIME) MRS. FOLEY: I barely knew Petty Officer Curtin. KATE: We're actually more interested in what you know about his wife Margaret, Mrs. Foley. TONY: According to her cell phone records, you two spoke regularly after your husband's deployment. MRS. FOLEY: I kept in touch with all the wives. It was a stressful time. KATE: Did Mrs. Curtin ever talk about a man that she might have become close to, maybe even started seeing? MRS. FOLEY: No, but Margie wouldn't confide in me about something like that. TONY: What did you talk about? MRS. FOLEY: Mostly about whether we'd heard any news or talked to anyone. We were all desperate for information. KATE: Did Mrs. Curtin seem any more desperate than the rest of you? TONY: Or less? MRS. FOLEY: I really don't know. I was a wreck myself. My husband got called to Washington immediately after the second plane ht the Trade Center. He said his team was being deployed. He couldn't say where or for how long. KATE: They don't waste their time, do they? MRS. FOLEY: For the first six weeks we didn't hear so much as a word. After that we got occasional phone calls - emails. KATE: How long were they in Afghanistan? MRS. FOLEY: The lucky ones... almost six months. One came back after the first week. Bill made it through four and a half months before he got wounded. KATE: Wait, your husband made it back almost a month before Petty Officer Curtin? MRS. FOLEY: That's right. CUT TO: INT. NCIS LAB - DAY GIBBS: (INTO PHONE) Abby, do we have something linking Curtin's wife to Commander Foley?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) As in biblically linking? (SCENE CUT) GIBBS: (INTO PHONE) You got it. (SCENE CUT) ABBY: (INTO PHONE) No, I don't. (SCENE CUT) GIBBS: (INTO PHONE) Can you find it? (SCENE CUT) ABBY: (INTO PHONE) Sorry, Gibbs, I left my Ouija board at home. (SCENE CUT) GIBBS: (INTO PHONE) Is the magic in the board or in the hands that hold it? (SCENE CUT) ABBY: (INTO PHONE) Good point. (SCENE CUT) ABBY: (V.O./FILTERED) But it's spirits, not magic. GIBBS: (INTO PHONE) Fine. Have them call me when you find something. (SCENE CUT) ABBY: (INTO PHONE) Okay, be careful what you wish for. (END TELEPHONE INTERCUTS) CUT TO: EXT. FOLEY'S HOUSE - NIGHT GIBBS: Commander Foley? FOLEY: Yeah? TONY: We'll drive. CUT TO: INT. LAB - NIGHT ABBY: (SPELLS) E...L...I...S...A! MCGEE: Whoa! ABBY: Sorry. MCGEE: What do you got? ABBY: ELISA. See, I figure, how can I find evidence of an affair using only physical evidence collected at a crime scene? Then I thought... ELISA. It's a blood test for herpes simplex two. MCGEE: Curtin's wife had herpes? ABBY: And her husband didn't. His medical records were admitted. Petty Officer Curtin had an extensive physical done before he went overseas. And I mean extensive. No herpes. MCGEE: Well, his wife could have gotten it before they got married. ABBY: Oh, the old "I must have gotten it before we met" defense? MCGEE: Well, it could happen. ABBY: Really? MCGEE: Well, not to me. You know, it didn't... it hasn't happened. It won't happen. ABBY: It didn't happen to her either. Her medical records were admitted during trial. Her last physical was six months before she was mrder when her husband was in Afghanistan. No herpes. MCGEE: All we need to do now is check Commander Foley's records. ABBY: Is there anything you can't find? MCGEE: A way to shut up DiNozzo. CUT TO: INT. INTERROGATION ROOM - NIGHT (FOLEY SIGNS THE PAPER) GIBBS: Well. You agree to waive your Article Thirty One rights. FOLEY: I've got nothing to hide. I already told you I haven't heard from him. I don't expect to. GIBBS: Why not? You testified on his behalf at the trial. You seemed to be sympathetic to his situation. FOLEY: Situation? GIBBS: Coming home and finding his wife in the bedroom with another guy. FOLEY: Well wouldn't that bother you? GIBBS: Oh, yeah. It bothered me a hell of a lot, only I chose divorce over mrder. CUT TO: INT. OUTER OBSERVATION ROOM KATE: I didn't know that. TONY: He's lying. He's establishing rapport through shared communication. KATE: Are you sure he's lying? TONY: Of course I'm - no. GIBBS: (FILTERED) Of course I was coming home from a... CUT TO: INT. OBSERVATION ROOM - NIGHT GIBBS: ...three month float in the Med, not six months in the wr zone. FOLEY: Wouldn't make any difference to me. GIBBS: Actually, it was more like four and a half months for you. R-P-G broke your leg. FOLEY: I was lucky. It klled Petty Officer Gomez. GIBBS: When you came home, did you come home on crutches or a walking cast? FOLEY: What does any of this have to do with Petty Officer Curtin. GIBBS: It doesn't. It has to do with his wife and who really mrder her and the cable repairman. FOLEY: You think I klled them? GIBBS: Did you? CUT TO: INT. NCIS LAB - NIGHT ABBY: What's taking you so long? MCGEE: It's not like I can just Google a Navy SEAL Commander and access confidential medical records. CUT TO: INT. OBSERVATION ROOM - NIGHT FOLEY: You think I framed a teammate? A guy who would put his life on the line to save mine? GIBBS: Maybe you didn't mean to. If Curtin hadn't come home exactly when he did, who knows what direction this case might have gone in. FOLEY: Jack Curtin is one of the most insanely jealous men I've ever met. GIBBS: That's not what you said at his trial. FOLEY: I didn't want to see him get excuted. (KNOCK ON DOOR) (DOOR OPENS) MCGEE: Sorry. Uh... could I see you a second, Boss? CUT TO: INT. OUTER OBSERVATION ROOM TONY: Oh, I can't believe I'm seeing what I'm seeing. CUT TO: INT. CORRIDOR - NIGHT (DOOR CLOSES) GIBBS: Never interrupt an interrogation, McGee. Never! MCGEE: I'm sorry. I... I...I just... I just thought... GIBBS: To have a thought, McGee, you think! Were you thinking when you went into the interrogation room?! MCGEE: Yes, Sir. I think so. GIBBS: Well, okay. What is so damn important? CUT TO: INT. INTERROGATION ROOM - NIGHT (DOOR OPENS/ CLOSES) GIBBS: Margaret Curtin wasn't mrder by her jealous husband. She was mrder by her jealous lover... the same one that gave her herpes. FOLEY: I'm not answering another question until I talk to a lawyer. I want a lawyer now! CUT TO: INT. NCIS SQUAD ROOM - NIGHT MCGEE: I hate to rain on your parade, but we still don't have Curtin. KATE: At least he won't be able to kll Commander Foley. MCGEE: Well, if we go public that we've found his wife's k*ller, there's a good chance Curtin will turn himself in if he's still alive. CUT TO: INT. TRUCK - NIGHT (MUSIC OVER ACTION/CURTIN APPLIES CREAM TO HIS SHOULDER) CUT TO: INT. SQUAD ROOM - NIGHT TONY: It doesn't make any sense. KATE: What? TONY: Nothing. It just...it doesn't make any sense. GIBBS: Are you going to give it up, DiNozzo, or are you just going to keep repeating yourself? TONY: The calls from Curtin's wife to the Foley house pretty much stopped after Foley got back from Afghanistan. GIBBS: Yeah, so? TONY: So if they were having an affair, wouldn't the calls increase after he got back into town? MCGEE: Well, they didn't need to talk on the phone. They could see each other in person. TONY: Why did she stop talking to his wife? KATE: Well maybe she couldn't. Would you be able to talk to the spouse of someone you were having an affair with? I mean, would a normal person? TONY: But she didn't completely stop. McGee, did Foley spend any time in the hospital after he got back? MCGEE: Yeah. He had surgery on his leg and then again for a staph infection. TONY: Right. The surgery was on November thirteenth, back in for the infection on the twenty first for... one, two, three - three days. MCGEE: Yeah, you're right. How'd you know that? TONY: Because those are the only days Curtin's wife made calls to Foley's house after he got back. GIBBS: Are you thinking what I think you're thinking? TONY: I don't know, Boss. Are you thinking what I think you're thinking? GIBBS: Yeah. Her lover wasn't Foley. CUT TO: EXT. FOLEY HOUSE - NIGHT GIBBS: (V.O.) It was his wife.(MUSIC OVER ACTION/CURTIN WATCHES THE HOUSE FROM HIS CAR) (DOOR OPENS) CUT TO: INT. BEDROOM - NIGHT (MRS. FOLEY WALKS TO THE BATHROOM) (SFX: SHOWER RUNS B.G.) CUT TO: INT. KITCHEN - NIGHT (SFX: GLASS BREAKS B.G.) (DOOR OPENS) CUT TO: INT. BEDROOM - NIGHT (MUSIC OVER ACTION/CURTIN WATCHES FROM THE DOORWAY) KATE: I think you have something of mine. (DOOR OPENS) TONY: Put your hands behind your head and interlock your fingers. GIBBS: Is this what you wanted your son to remember you for? CUT TO: INT. SQUAD ROOM - NIGHT (SFX: DOORS SLIDE OPEN) TONY: I'm not sure I'd even mind. KATE: You wouldn't mind if your wife had an affair? TONY: With another babe? I don't think I would. KATE: Okay, I know I'm going to regret this, but why? TONY: Easy. With a guy I'd think... what's he got that I don't, but if it was a woman, I'd know. Plus there's the whole... you know. KATE: What? TONY: What do women... you know... KATE: Oh, please! Why are guys so interested in women who by definition, have no interest in them? TONY: There's no such thing. KATE: There's no such thing as lesbians? TONY: That's not what I said. KATE: Oh. You just think all lesbians secretly still want a man? TONY: Not all of them. KATE: Just the good-looking ones? TONY: You're putting words in my mouth. MCGEE: Welcome to the wonderful world of DiNozzo. KATE: So I guess you're completely above such fantasies? MCGEE: Yeah. I am. TONY: Believe it. (DOOR OPENS) MCGEE: Who's that? TONY: That's a good question. Ask him. GIBBS: She dropped off my glasses. MCGEE: Boss? GIBBS: Yeah, McGee? MCGEE: It was really nice working with you again. GIBBS: Same here, McGee. MCGEE: Oh, by the way, there's something that Tony and Kate have been meaning to ask you. (MCGEE WALKS O.S.) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x18 - UnSEALed"}	foreverdreaming
FADE IN: INT. BUILDING LOBBY - NIGHT (SFX: fre ALARM B.G.) GUARD: Damn it. Now I know they're doing it on purpose! JANITOR: Who? GUARD: The guys who installed the new fre alarm system. That's the third time this week the damn things gone off an hour after they quit work. JANITOR: Aren't you going to call the fre department? GUARD: It is a false alarm. It's payback for them having to sign in and out. JANITOR: You're not supposed to use the elevator in a fre. GUARD: There's no fre, George! And I'm not walking up five floors for a false alarm. JANITOR: Can't you shut it off here? GUARD: Don't you think I would if I could? They haven't connected that circuit yet... on purpose! (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/CREDITS/ ACTION AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "dad MAN TALKING" TONY: (CHUCKLES) Oh, yeah! (PHONE RINGS) TONY: (INTO PHONE) Special Agent Todd's desk. I'm sorry, she stepped away. KATE: DiNozzo! TONY: May I ask who's calling? Um...one moment. KATE: Hey! TONY: Dwayne. KATE: I do have voicemail. TONY: What fun is that? KATE: (INTO PHONE) Hi. Um...yeah. Me, too. Oh, yeah. I know where that is. Okay, great. I'm leaving now. 'Bye. (SFX: HANGS UP PHONE) TONY: His name is Dwayne? KATE: You really need to get a social life of your own. TONY: Oh, I have a social life. KATE: What's tonight, Celebrity Mole? TONY: No. Best of Jackass. GIBBS: Hold on! TONY: What is it, boss? GIBBS: Chris Pacci was mrder. KATE: The agent that sits behind me? (BEGIN FLASHBACK SCENE) TONY: Hey, Pacci. PACCI: Hey, Tony. TONY: How's the shoulder? PACCI: It's getting there. You got a minute, Gibbs? GIBBS: No, not really. (PASSAGE OF TIME) GIBBS: Pacci, what do you need? PACCI: Ah, you're busy. It's a cold case. What's one more day? (END FLASHBACK SCENE) MUSICAL BRIDGE TO: INT. LOBBY - DAY GIBBS: Detective Hanley. HANLEY: Special Agent Gibbs. GIBBS: Thanks for the call. HANLEY: When we ID'd him as NCIS, I assumed you'd want to take the lead. GIBBS: I appreciate that. Who found the body? HANLEY: The janitor and the security guard. They were alerted when a fre alarm went off on the fifth floor. TONY: On our way up. HANLEY: We held off on taking their statements. Thought you'd want to do that. DUCKY: Oh, Christopher, who did this to you? It's easier to overcome the gore and inhumanity when you don't know the victim. But it's so hard to be detached when it's one of your own. JASON: Should I start taking photos, Doctor Mallard? DUCKY: Yeah. Work goes on. CUT TO: INT. STAIRWELL - DAY GUARD: I called nine one one and someone left the building from the rear emergency exit, setting off the door alarm. GIBBS: Did the security cameras catch it? GUARD: Um, they're not installed yet. The building's being retrofitted with new systems and nothing's on line. GIBBS: What time did Chr (bat) what time did the victim enter the building? GUARD: I don't remember seeing him come in. GIBBS: Is there another entrance? GUARD: No. He would have had to come through here. GIBBS: How could you not see him? Does this lobby get that busy? GUARD: He could have come in while I was signing construction workers out. GIBBS: I want a copy of their names and a list of the floors they work on. GUARD: Yes, Sir. CUT TO: INT. ELEVATOR - DAY (SFX: CAMERA SHUTTER CLICKS) GIBBS: The bastard disemboweled him. DUCKY: Yes, but I don't think that was the cause of death. GIBBS: Is that a bllet wound? DUCKY: Yes. In the neck. Most likely pierced the carotid artery. It was a quick death. He would have bled out in less than a minute. GIBBS: Shouldn't there be a lot more blood? DUCKY: If he was sht in the elevator. GIBBS: You think it happened topside? DUCKY: That would be my guess. But this... this slashing was done here in the elevator. GIBBS: Rage or ritual, Duck? DUCKY: I don't know, Jethro. Maybe after I've autopsied. GIBBS: Chris asked me for help on a cold case. I was chasing Curtin and didn't have time. DUCKY: Jethro. GIBBS: He said it could wait. What difference would another day make? DUCKY: Jethro, this is not your fault. GIBBS: It feels like it is, Ducky. (SFX: CELL PHONE RINGS) (BEGIN TELEPHONE INTERCUTS OVER FLASHBACK SCENES) GIBBS: (INTO PHONE) You found a lot of blood. (SCENE CUT) KATE: (INTO PHONE) Yeah. GIBBS: (V.O./FILTERED) We're looking for a bllet. KATE: (INTO PHONE) We're on it. (SCENE CUT) KATE: (V.O./FILTERED) Whatever happened... it started on the sixth floor. (SCENE CUT) KATE: (INTO PHONE) We followed the trail backwards. (SCENE CUT) (SFX: gn) KATE: (V.O.) Pacci made it to the stairwell... he exited the... (SCENE CUT) KATE: (INTO PHONE) ...fifth floor (SCENE CUT) KATE: (V.O.) ...where he pulled the fre alarm...(SFX: fre ALARM B.G.) (SCENE CUT) KATE: (INTO PHONE) ...before making it to the elevator. (END TELEPHONE INTERCUTS) CUT TO: INT. SQUAD ROOM - NIGHT TONY: God, Chris was so al. I borrowed his stapler once. Put it back in the wrong place. Heard about it for days. GIBBS: Give me his keys. KATE: Regs are to carry your wapon from portal to portal. Why'd he leave his here? GIBBS: He was tailing somebody, going from place to place. Didn't want to stop to identify himself or risk setting off an alarm. TONY: We've all done it. Especially with the heavy security these days. GIBBS: I'll go over his case files. You two check out his house. KATE: Tonight? GIBBS: Yes, tonight! KATE: I've just got to make a call. GIBBS: Is there anyone you need to call, DiNozzo? TONY: No, boss. No calls. CUT TO: INT. PACCI'S HOUSE - NIGHT (DOOR OPENS) KATE: Did you know Pacci well? TONY: Softball. Beers after work. That kind of knowing. KATE: When he left this morning, he had no idea we'd be going through his personal effects. TONY: Part of the job. KATE: But you knew him. Don't you feel like you're...? TONY: What? KATE: I don't know... like you're invading his privacy? TONY: Well, he's dad, Kate. With his guts slashed open I'd say Chris' privacy is about as invde as it's gonna get. (SFX: PHONE RINGS) TONY: (INTO PHONE) Hello. MCGEE: (V.O./FILTERED) Is this the Pacci residence? TONY: (INTO PHONE) Yeah, who's this? (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (INTO PHONE) NCIS Special Agent McGee. (SCENE CUT) TONY: (INTO PHONE) McGee, it's DiNozzo. What are you doing calling this number? (SCENE CUT) MCGEE: (INTO PHONE) Special Agent Pacci wanted me to do something for him. Is he there? Can I speak to him? (SCENE CUT) TONY: (INTO PHONE) No. MCGEE: (V.O./FILTERED) DiNozzo, this isn't a good time, okay? (SCENE CUT) MCGEE: (INTO PHONE) This is... TONY: (V.O./FILTERED) He's been mrder, McGee. (SCENE CUT) TONY: (INTO PHONE) What did he ask you to do for him? (SCENE CUT) MCGEE: (INTO PHONE) He wanted um... civilian files from a three year old cold case. (SCENE CUT) MCGEE: (V.O./FILTERED) I spent all day in the Buford County Courthouse searching for it. TONY: (INTO PHONE) Did you get it? MCGEE: (V.O./FILTERED) Yeah. TONY: (INTO PHONE) What's in it? (SCENE CUT) MCGEE: (INTO PHONE) A car accident report. I didn't think I should read it. (SCENE CUT) TONY: (INTO PHONE) You and the report. NCIS Headquarters. Zero seven hundred. MCGEE: (V.O./FILTERED) Okay. (SCENE CUT) MCGEE: (INTO PHONE) Tony? TONY: (V.O./FILTERED) What? MCGEE: (INTO PHONE) I'm sorry. (SCENE CUT) TONY: (INTO PHONE) Yeah, kid. Aren't we all? (END TELEPHONE INTERCUTS) CUT TO: INT. NCIS LAB - DAY GIBBS: Did you get the bllet we found last night? ABBY: I already ran it. GIBBS: What time did you get in? ABBY: Four a.m. GIBBS: Thanks, Abs. ABBY: Well, Pacci was family. The slug looks pretty clean. From a three fifty seven. Based on rifling, it came from a Smith and Wesson, model sixty six. GIBBS: Very small and easy to conceal. ABBY: Yeah. I ran a comparison through NIBIN. I got nada. Looks like the gn's a virgin, but I'll keep searching. GIBBS: Yeah. Abs, did Pacci ask you to do anything for him recently? ABBY: Not in a while. GIBBS: He was working a cold case. Search the hard drive on his computer. ABBY: You got it. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Put this back with the others. GIBBS: What have you found? DUCKY: Well, as I thought, the bllet tore through the carotid artery. The massive loss of blood while fleeing his attacker was almost instantaneously fatal. GIBBS: The slashing done post-mortem? DUCKY: I believe so. It's hard to tell for certain. I mean, a three to four inch blade was thrust in here below the sternum and sliced down to here. These two more indiscriminate incisions were done next. GIBBS: Same question, rage or ritual? DUCKY: Well, neither. I think the kller was looking for something. Here. There's a small foreign object lodged here in the upper alimentary canal. GIBBS: What is that? DUCKY: I was about to find out when you came in. GIBBS: Did Chris swallow this? DUCKY: That would be my guess, Jethro. GIBBS: Ducky, would this be hard to find without an x-ray? DUCKY: Extremely. GIBBS: Especially if an alarm was blaring and the attacker knew that security had been alerted. (MUSIC OVER ACTION/DUCKY REMOVES THE OBJECT) DUCKY: Here we are. GIBBS: What is that? JASON: It's a memory card, Sir, from a digital camera. DUCKY: Why on Earth would Chris swallow a memory card? GIBBS: He knew he was dying.... and he knew you'd be doing the autopsy. Chris wanted you to find that. dad man talking, Duck. (MUSIC UP AND OUT) MUSIC IN: INT. NCIS LAB - DAY ABBY: Obviously they're surveillance photos. TONY: Ooh, hottie. ABBY: Don't you think she's a little bit too old for you, Tony? TONY: No, she's about my age. ABBY: That's exactly my point. Um... there's nothing on the card but candids. Based on the date time stamp they were all taken in the past two days. KATE: I interviewed all the workers. Nobody remembers seeing Pacci or anything unusual. But one of them did find this. He found it at the bottom of the stairwell this morning. GIBBS: Chris' camera? KATE: NCIS issued. It's gotta be his. (INTERCUT FLASHBACK SCENE) GIBBS: No memory card. KATE: Nope. MCGEE: Oh, sorry. Sorry I'm five minutes late. I had to park in the visitor's lot and the guard... GIBBS: Where is it, McGee? (GIBBS GRABS THE BRIEFCASE AND OPENS IT) MCGEE: Special Agent Pacci wanted that ASAP. KATE: What is it? MCGEE: It's a civil investigation of an automobile accident in Buford County three years ago. A Naval officer was klled. I read it last night. TONY: I didn't have breakfast this morning. You don't mind, do you? MCGEE: No. ABBY: Yes, Tony! Hi, McGee. GIBBS: I remember this case. Lieutenant Commander Voss was under investigation for credit card fraud. He stole over ten million dollars from the Navy. TONY: He the guy that died before they could file charges? GIBBS: Yep. The money was never found. Case went cold. KATE: Why was Pacci working it? GIBBS: Found a lead on the money. It may be her. McGee! TONY: Yes, boss. GIBBS: I want you on this. I'm going to get you T-A-D here. DiNozzo, you take McGee with you. You find out who she is and where she is. TONY: Let's go, hotshot. ABBY: You need a place to stay? MCGEE: Um.... well...well... TONY: McGee! MCGEE: Coming. (TONY AND MCGEE WALK O.S.) KATE: How'd he die? GIBBS: What? KATE: Lieutenant Commander Voss, how'd he die? He was brned to death? CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Why am I looking at a three year old autopsy report? GIBBS: Kate's idea. Chris had this autopsy pulled, Doc. He must have suspected something was wrong in it. DUCKY: I'd be very surprised if there were, Jethro. This was done by Hugh Putnam. He's a very competent and thorough M.E. I've worked with him before. GIBBS: Check it out anyway. (GIBBS WALKS O.S.) KATE: Please. He's got to learn to say please. DUCKY: Ah, Christopher, you've left us a bit of a mystery. Give me some direction. What should I be looking for in this autopsy report? Hmm? CUT TO: INT. PASSAGE WAY - DAY GRAVES: You know, I already told Special Agent Pacci everything I could remember about Commander Voss. GIBBS: When was that? GRAVES: That would have been Tuesday morning. You know, we get underway in two days. Can't you get whatever info you need off of Agent Pacci? I can't tell you any more than I already told him. GIBBS: He was mrder last night, Captain. GRAVES: (bat) I'm sorry. GIBBS: You were Lieutenant Commander Voss' C.O. in Norfolk when he was under investigation. GRAVES: Yeah, he was my command supply officer. And I've got to tell you I was shocked when the credit card fraud was uncovered and he was suspected. KATE: Nobody else had access to the cards? GRAVES: There's thousands of military and civilian employees who had access to those cards. That's why he was able to pull it off. KATE: I don't understand. GRAVES: In order to cut down on the cash disbursed, the D-O-D issues credit cards. A phony company was set up making small charges against a vast number of these accounts, accounts that Commander Voss had approved. GIBBS: How'd he get caught? GRAVES: Well, he didn't for almost four years. Then he decided to expand his scam to bilk the entire Atlantic Fleet Command. He got over twelve million before finally somebody noticed anything. KATE: What happened to the money? GRAVES: Nobody knows. When Commander Voss died, all he had was savings that were reasonable for a Lieutenant Commander in the Navy, which is why I'm not certain he did it. GIBBS: What did Special Agent Pacci ask you? GRAVES: He didn't ask me anything about the scandal. All he wanted to know was who Voss had dated. And I didn't know. CUT TO: INT. SQUAD ROOM - DAY (SFX: TONY DRUMS HIS FINGERS) TONY: McGee, it's not like you. What's taking so long? MCGEE: I've almost got it. TONY: You know, the quicker you get this done, the more quality time you have to spend with a certain tattooed forensic technician of the Goth persuasion. MCGEE: What do you mean by that? TONY: Oh, come on! Abby told me you closed the deal under some pretty hinky circumstances. MCGEE: She told you that? Well, the hinky thing of it - did she tell you that that was her idea? Because, (bat) Abby didn't tell you anything, did she? TONY: A well-trained NCIS Special Agent is good at extracting information. You'll learn. Focus. (SFX: COMPUTER BEEP TONES) MCGEE: I have her address. TONY: You do? How? MCGEE: Look. Since evidently this is her residence, I used the process of elimination. Quercus Virginia. TONY: Excuse me. MCGEE: That's a variety of oak tree. TONY: How can you tell? It doesn't have any leaves on it. MCGEE: I identified the bark. TONY: Of course you did. MCGEE: A search of the registry from the Arboretum Society shows that twenty eight streets were planted with that genus of tree. So I narrowed it down even further. The Department of Public Works says that that Victorian light, circa nineteen oh five, was installed on only seven of those streets. If we look even closer... TONY: Ah, she's got great legs. MCGEE: Yes, she does. TONY: You narrowed it down to seven streets. MCGEE: Four of those are eliminated because they don't have three digit addresses. Of the remaining, only one, according to the U.S. Postal Service... Fortieth Street... has a mailbox in the middle of the block. TONY: Okay, I'll take it from here, McGee. You look like you could use some coffee. MCGEE: Not really. TONY: I'll take mine with three sugars and a hazel nut. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) TONY: How'd it go? GIBBS: Tell me you have her name, DiNozzo. TONY: Any second, boss. I've got an address. I'm running it through the search engines. KATE: How'd you find it? TONY: Process of elimination, actually. Here it is. Amanda Reed. (SFX: COMPUTER BEEP TONES) GIBBS: Background her. Deep as you can go. Come on, Tony. McGee, good work on the address. MCGEE: Oh, thank you, boss. (GIBBS SPITS OUT THE COFFEE) (KATE LAUGHS) CUT TO: EXT. STREET - DAY TONY: (INTO PHONE) Yeah, yeah, yeah. Yeah, okay. Thanks for that. (TO GIBBS) Well, Kate can't find any criminal record. In fact, Amanda Reed sounds like an upstanding citizen. Single, real clean TRW. She just bought this townhouse. Paid cash. No mortgage. She... recently was accepted to the Potomac Country Club as a member. GIBBS: I'm impressed. TONY: Do you want me to do the interview? GIBBS: No. TONY: I can work her, boss. GIBBS: Chris was keeping his distance for a reason. Until we find out why, we do the same. TONY: Why? GIBBS: This photograph was taken from up there. Excuse me, are you the building manager? NORM: No. I got a thing for sweeping sidewalks. GIBBS: Is your apartment still for rent? NORM: Are you guys... together? TONY: (LAUGHS) No, it's not what you think. GIBBS: NCIS. NORM: Oh. The guy the other day showed me a badge just like that. GIBBS: Did he rent it? NORM: Nah, he just took some pictures inside and said he'd get back to me. GIBBS: We'd like to see the apartment. NORM: To take pictures or to rent it? GIBBS: To rent. NORM: Oh, all right. GIBBS: We're going to pick up where Chris left off. Stake out time. TONY: (SHOUTS) Yes! (CUT TO BLACK) FADE IN: INT. SQUAD ROOM - DAY TONY: I haven't been on a stakeout for a long time. I'm looking forward to this. KATE: Figures. You're a voyeur. You like spying on people. TONY: And this is legal. KATE: Would you be as excited if the mark was a three hundred pound bald guy? TONY: Nope. GIBBS: What'd you find out? KATE: No vehicle registered in Amanda Reed's name. She doesn't even have a driver's license. But a lot of people don't have cars in the city. GIBBS: DiNozzo? TONY: A connect between the dad Commander Voss and Amanda Reed. I ran a title search on the townhouse she just bought. It's too much to be a coincidence. GIBBS: Are you going to spit it out, or do I have to waste my coffee on your head. TONY: The house was in the Voss family for three generations. The Commander's father lost it in a bankruptcy in seventy nine. I got a call in to the real estate agent who sold it to Amanda Reed. Waiting to hear back from her. GIBBS: Kate and I will take the first shift. You and McGee will relieve us at nineteen hundred. TONY: Yeah. GIBBS: Problemo? TONY: Well... KATE: You really want to do that to McGee? Special Agent Bligh here is going to eat him alive. TONY: McGee looks up to me as a mentor. KATE: Uh! GIBBS: You want to be stuck in a cramped apartment with DiNozzo? Be my guest. KATE: On the other hand, it'll help McGee build character. MCGEE: All set, boss. The secured phone line is installed and the surveillance equipment is loaded in the van. GIBBS: Good. MCGEE: Special Agent Pacci filled out a requisition for the same equipment and never picked it up. GIBBS: Yeah. Yeah, I know. Let's go, Kate. TONY: You ever been on a stakeout before, McGee? MCGEE: No, but I'm looking forward to the experience. KATE: Behave yourself. (SFX: TONY LAUGHS) CUT TO: INT. APARTMENT - DAY (MUSIC OVER SURVEILLANCE ACTION) GIBBS: Hey Abs, are you there?(BEGIN RADIO COMMUNICATION INTERCUTS) ABBY: Yeah, Gibbs. I finally got the... (SCENE CUT) ABBY: (V.O./FILTERED) ....link working. GIBBS: Our lady's back. (SCENE CUT) ABBY: Yeah, I saw her. I finished pulling the last two weeks off Pacci's computer. There wasn't a lot there. Like a lot of older agents... (SCENE CUT) ABBY: (V.O./FILTERED) .... he wasn't very computer savy. (SCENE CUT) GIBBS: (V.O./FILTERED) Send me the files. ABBY: Well, you know how to download them? (SCENE CUT) GIBBS: Don't go there, Abs. (SCENE CUT) ABBY: Touchy. Can we do a sound check on the laser-mic? (SCENE CUT) GIBBS: Sure. (DOOR OPENS/ CLOSES) GIBBS: Where'd she go? KATE: Starbucks. Seems to be a regular. Non-fat, grande, foamy latte. Then to a pharmacy to pick up a prescription. GIBBS: Mmm, I think she's running water. (SCENE CUT) ABBY: Oh, yeah. I hear it loud and clear. (SCENE CUT) KATE: Well, the lady's got expensive taste. The purse is Prada. It'd cost me a month's pay. (END RADIO INTERCUTS) CUT TO: INT. REAL ESTATE OFFICE PAT STONE: I've had quick sales before, but nothing like this. She wrote a check for the full asking price, no contingencies, and we closed in fifteen days. TONY: And you told all that to Special Agent Pacci? PAT STONE: Yeah. He first came in two or three years ago, wanted to be notified if the townhouse was ever listed. I thought he wanted to buy. TONY: Couldn't afford it, so you called him when it went back on the market. PAT STONE: Oh, well, the truth is I forgot. After it sold I remembered. I called. I thought he was going to be upset, but when I told him how Miss Reed had made the buy he sounded a little excited. TONY: And did you get to know her very well? PAT STONE: No, not really. I usually get to look at the client's loan aps and uh... you know, tax returns. But this was such a clean deal, I didn't have to bother with any of that. TONY: Well, thanks. You've been a big help. PAT STONE: Sure. Say, why isn't Special Agent Pacci here? TONY: I'm filling in for him on the case. Thanks again. PAT STONE: Do you want to buy a house? CUT TO: INT. APARTMENT - DAY KATE: Anything? GIBBS: Nope. Abby was right. Chris didn't leave much of a computer trail. He was surfing the website of a Bangkok visitor's bureau, but I cannot figure out why. (KNOCK ON DOOR) KATE: I'll get it. (DOOR OPENS) TONY: Miss me? KATE: What's that? TONY: Dinner. I'm trying to broaden Special Agent McGee's palette. KATE: It stinks! GIBBS: What did you two find out? TONY: Well apparently Chris knew that Amanda had a thing for the Voss family home. He's been keeping an eye on it. GIBBS: What's Amanda Reed's link to Voss? MCGEE: I researched Amanda Reed's prior residences. Her last known address was Virginia Beach... TONY: Which is eight miles from Norfolk where Lieutenant Commander Voss was stationed. MCGEE: Before that she lived in Jacksonville, Florida. TONY: While he was at Mayport Naval Station... ten miles away. MCGEE: Prior to that, Amanda Reed lived in La Mesa, California... TONY: Just outside of San Diego while he pulled duty at Coronado. KATE: Well, they knew each other. GIBBS: Sounds like more than knew to me. TONY: Good work, huh, boss? GIBBS: Tomorrow's garbage day. I'm sure she'll take her trash out tonight. Go through it. TONY: Right. KATE: And by the way, Tony, there's only one bathroom. It's clean now. I want to find it that way when I get back. TONY: What do you think I'm going to do? KATE: I've seen you fre your wapon. I don't trust your aim. TONY: I love this. It's just like the movie "Stakeout." MCGEE: There was a movie "Stakeout?" TONY: How old are you? It was a classic. Richard Dreyfuss and one of Martin Sheen's kids. KATE: Emilio Estevez. MCGEE: Well how can Estevez be a Sheen? KATE: Martin Sheen is not a Sheen. TONY: It was cool. There were two teams, just like us, trading shifts, pulling practical jokes on each other. KATE: I'm warning you, DiNozzo. Don't even go there. (SFX: TONY UNPACKS BAG) TONY: We gotta go there. Any ideas, McGee? MCGEE: No! TONY: Well, don't worry. I've got plenty. MCGEE: Do you realize that any prank we pull on Kate we'll also be pulling on Gibbs? TONY: That's a problem. MCGEE: Unless... nah. TONY: What? MCGEE: Well, I was thinking, since she is expecting something, maybe we should do nothing. TONY: That's brilliant! MCGEE: It'll drive her nuts trying to figure out what we did that we didn't do. TONY: You're all right, McGee. Have a pastrami. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Jethro, I didn't expect you back this late. I was just about to call you. GIBBS: Did you find something off in that autopsy report? DUCKY: No, I didn't. It was detailed and complete. As I expected the M.E.'s transcript was impeccable. There was a full complement of photos, and the lab work-ups were everything that I would have asked for. GIBBS: Who identified Voss' body? DUCKY: Nobody. They used a DNA match as the body was badly brned in the automobile crash. GIBBS: Ducky, would Buford County still have the tissue samples from the case in their evidence locker DUCKY: I would assume so. I'll check. Why? GIBBS: Have Abby re-run the DNA. DUCKY: Right. I heard the Director asked you to speak at Pacci's memorial service. GIBBS: Yeah, I declined. DUCKY: Oh, Gibbs. GIBBS: I can't do it, Duck. I wouldn't feel right. I'll see you there. CUT TO: INT. APARTMENT - NIGHT AMANDA: (V.O./FILTERED) Yes, but I don't understand why I need approval from the Historical Committee. (ON CAMERA/FILTERED) I just want to paint my front door and my window trim. TONY: No, no, no. Where'd you go? Where'd you go? AMANDA: (V.O./FILTERED) Yeah, all right. All right. You know what? I think this is a lot of nonsense. TONY: Don't put on a shirt. It's hot out. AMANDA: (FILTERED) I'm tired of fighting with you guys. (V.O.) Where do you want me to send the color samples? TONY: I'm falling in love. AMANDA: (V.O./FILTERED) Okay, I'll mail them today. TONY: Are you finished yet? MCGEE: Yeah. And all I've learned is she loves bananas and mangoes. Also uses every beauty product sold on cable TV. TONY: Maybe she's older than she looks. (SFX: AEROSOL SPRAY) TONY: How old do you think she is? MCGEE: I don't know. Thirties? (MUSIC OVER ACTION/CAMERA ON AMANDA) TONY: Oh, yeah. I need some fresh air. (TONY HURRIES O.S.) CUT TO: INT. NCIS LAB - DAY DUCKY: Abigail. ABBY: Donald. You look very snappy today. DUCKY: I'm going to Christopher Pacci's memorial service. ABBY: Oh. DUCKY: I wanted to drop off these blood and tissue samples first. ABBY: Who's the unlucky donor? DUCKY: The victim of a car crash three years ago. ABBY: Lieutenant Commander Voss. DUCKY: Gibbs wants you to test the DNA. ABBY: Were the original results questionable? DUCKY: No, they were as positive as it gets and certified by a reputable lab. ABBY: So Gibbs wants me to retest it. DUCKY: That he does. ABBY: DNA does not lie, Duckman. DUCKY: Tell that to Gibbs. That's an unusual surveillance technique. ABBY: Well, DiNozzo is an unusual agent. McGee... (BEGIN RADIO INTERCUTS) (SCENE CUT) ABBY: (V.O./FILTERED) ...are you watching this? (SCENE CUT) MCGEE: Watching what? (SCENE CUT) ABBY: What the hell is DiNozzo up to? MCGEE: (V.O./FILTERED) Well, he's not here. ABBY: No. He's across the street... (SCENE CUT) ABBY: (V.O./FILTERED) ...talking to the lady. (END RADIO INTERCUTS) CUT TO: EXT. APARTMENT - VIDEO POV TONY: (ON MONITOR) I live down on Canal and I just... I've been trying to paint my door. And the Historical Society has given me nothing but grief. AMANDA: (ON MONITOR) I know. I just got off the phone with them. I just want to paint my door and my trim and they're making it virtually impossible. TONY: (ON MONITOR) That's total nonsense. AMANDA: (ON MONITOR) You know, those are my exact words. Hi, I'm Amanda. TONY: (ON MONITOR) Hi. I'm Stringfellow. AMANDA: (ON MONITOR) You're kidding, right? TONY: (ON MONITOR) Well, five generations of Stringfellows, you know, what do you do? (SCENE CUT) ABBY: Stringfellow? (SCENE CUT) MCGEE: It's so he won't forget it. (SCENE CUT) ABBY: You should. (SCENE CUT) MCGEE: Huh? (SCENE CUT) ABBY: Look, DiNozzo is your partner. In the world according to Gibbs, you share the blame if anything goes hinky. (SCENE CUT) MCGEE: Oh, geez. Okay. Ah... what do I do here, Abs? (SCENE CUT) ABBY: Don't volunteer anything. Only answer questions asked. And whatever you do, do not lie, because Gibbs is like Santa Claus. He knows if you've been naughty. (END INTERCUTS) CUT TO: INT. APARTMENT - DAY (DOOR OPENS) TONY: How was the memorial service? KATE: The Director gave a nice eulogy. GIBBS: Did anything happen? MCGEE: Nope! Not a thing, boss. TONY: Very quiet. MCGEE: Very. GIBBS: Is that why you seem so anxious, Special Agent McGee? MCGEE: Me? KATE: What did you do to him? TONY: Nothing. KATE: This place looks too clean. (SFX: CELL PHONE RINGS) KATE: Excuse me. (INTO PHONE) Hi. GIBBS: Where is she now? TONY: Uh... in the back of the house. In the kitchen. GIBBS: Did you check her trash? MCGEE: Uh, yes, boss. And nothing unusual. GIBBS: Have it sent to Abby for prints. KATE: (INTO PHONE) I had a great time, too. Oh, I can't. I can't tonight, Dwayne. But I promise I'll make it up to you this weekend. I'll call you back. (SFX: HANGS UP PHONE) KATE: DiNozzo! TONY: Sounds like Dwayne's in love. KATE: Permission to sht him? GIBBS: Mm-hmm. ABBY: (ON MONITOR) Hey Gibbs, are you there? GIBBS: Yeah, Abs. What's up? ABBY: (ON MONITOR) You rule! GIBBS: I know, but remind me why. ABBY: (ON MONITOR) For wanting the DNA retested. GIBBS: You can't have the results yet. ABBY: (ON MONITOR) Oh, no. I didn't run it. GIBBS: Abby! Damn it, I'm not in the mood! ABBY: (ON MONITOR) Chill, Gibbs. I didn't have to. The crispy critter from the crash is type O positive. Lieutenant Commander Voss AB negative. KATE: Voss is alive?! ABBY: (V.O.) Unless he's an alien with shifting blood types. MCGEE: He's alive with all those millions. TONY: Living la dolce vita. Lucky bastard. GIBBS: Not for long. (MUSIC UP AND OUT) MUSIC IN: INT. CAR - MOVING KATE: Geo-tech Lab is your next right. I just thought you might... I don't know.. (MUSIC OVER ACTION) (SFX: CAR TIRES SCREECH) KATE: ...miss it. GIBBS: What I'm missing is talking to that tech who DNA certified that body was Lieutenant Commander Voss. KATE: Well, he's not listed, so maybe he no longer works at Geo-tech. GIBBS: Call him and ask. KATE: (INTO PHONE) Joshua Lurie, please. (TO GIBBS) Do you think they made a clerical error? GIBBS: Nope. KATE: People make mistakes, Gibbs. GIBBS: Like backseat driving? KATE: I'm in the front seat. (INTO PHONE) Ah yes, Joshua Lurie. When? GIBBS: He's dad. (SFX: CAR TIRES SCREECH) KATE: Two years ago in a car crash. CUT TO: INT. APARTMENT - DAY MCGEE: Where did you come up with a name like Stringfellow? TONY: Airwolf. MCGEE: Never heard of it. TONY: You never watched Stakeout, never heard of Airwolf. What do you do on the weekends? And don't say party. MCGEE: I... I write. TONY: Write? MCGEE: Yeah, I try to write mysteries. TONY: (LAUGHS) That's funny. MCGEE: I never should have told you. TONY: No no no! No no no! It's good! That's good stuff! We're bonding. Hey uh... where do you get your ideas? MCGEE: Well, uh... cases like this one. Guy steals millions of dollars, makes it look like he's dad, has his girlfriend buy the old family home. TONY: Hmm. Isn't that plagiarism? MCGEE: I... I don't think so. TONY: I'd love to see the return address. I'm going to get a look at that package. (TONY RUSHES O.S.) TONY: No, no! Tony, I don't think that's a good idea! Tony! (DOOR OPENS/ CLOSES) CUT TO: EXT. APARTMENT - DAY (MUSIC OVER ACTION/TONY RUNS TO THE FRONT STEPS) (DOOR OPENS) TONY: (ON MONITOR) Anti-aging cream. CUT TO: INT. APARTMENT - DAY MCGEE: Tony, get out of there! Get out of there! CUT TO: EXT. FRONT STEPS - DAY (DOOR OPENS) TONY: Hey. AMANDA: Stringfellow. TONY: Ha ha! You remembered my name. AMANDA: How could I forget it? What are you doing here? TONY: Ah well, I could... I could say that I'm your new mailman. AMANDA: Which I wouldn't believe. TONY: All right. How about uh... I just wanted to see you again. AMANDA: Do you like espresso? TONY: Oh yeah, I love espresso. AMANDA: Come on in. CUT TO: INT. APARTMENT - DAY MCGEE: Oh, Tony. Don't do it. Come on. CUT TO: INT. SQUAD ROOM - DAY KATE: Oh, my god. I can't believe it. Hamilton Voss and Josh Lurie graduated from the same high school in the same year. GIBBS: That clinches it. Voss is alive. He faked his own death in an accident where his old schoolmate would make the DNA I.D. KATE: For which Voss klled him? GIBBS: Yeah, why not? Voss klled whoever really brned in that car crash. mrder Chris when he found out he was tailing him. He caught Chris tailing him. Maybe he's on to us. (TELEPHONE BEEP TONES) CUT TO: INT. APARTMENT - DAY TONY: (ON MONITOR) Anyway, we made it into the final four. I was playing for Ohio State. We got bat by UCLA. (SFX: PHONE RINGS B.G.) MCGEE: (INTO PHONE) Special Agent McGee. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Put DiNozzo on. (SCENE CUT) MCGEE: (INTO PHONE) Ah... uh, he can't come to the... (SCENE CUT) MCGEE: (V.O./FILTERED) ....phone right now, boss. GIBBS: (INTO PHONE) Where is he, in the head? (SCENE CUT) MCGEE: (INTO PHONE) He's across the street in the... (SCENE CUT) MCGEE: (V.O./FILTERED) ... townhouse with her. GIBBS: (INTO PHONE) Well what the hell is he doing there, McGee? (SCENE CUT) MCGEE: (INTO PHONE) I...I really couldn't explain. (SCENE CUT) GIBBS: Have Abby patch the video feed from the stakeout up here. (INTO PHONE) McGee, you listen to me. Voss is out there somewhere watching us watch Amanda. (MUSIC OVER ACTION/CAMERA PANS AROUND THE STREET) AMANDA: (ON MONITOR) Do you like Paddy's? TONY: (FILTERED) Hamburger or turkey? AMANDA: (FILTERED) No, Paddy's pub around the corner. TONY: (ON MONITOR) Oh, I thought you were offering me something to eat. AMANDA: (FILTERED) I am offering you something to eat. Corned beef and beer, huh? TONY: (FILTERED) I love corned beef and beer. AMANDA: (ON MONITOR) Great. Let me go change into something else, Stringfellow. TONY: (ON MONITOR) Okay. KATE: Stringfellow? TONY: (V.O./FILTERED) I'm going to wait outside. CUT TO: EXT. APARTMENT - DAY (TONY RUNS ACROSS THE STREET) (SFX: HORN HONKS B.G.) CUT TO: INT. APARTMENT - DAY (DOOR OPENS/ CLOSES) TONY: Did you get that? Paddy's Pub. (WHISPERS) Gibbs? MCGEE: Yeah. TONY: (WHISPERS) They're watching me? (INTO PHONE) Hey boss. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) DiNozzo, what the hell are you doing? (SCENE CUT) TONY: (INTO PHONE) I had an opening. It was a clear field. I had to go for it. (SCENE CUT) GIBBS: (INTO PHONE) Good. (SCENE CUT) TONY: (INTO PHONE) Good? GIBBS: (V.O./FILTERED) Yeah. (SCENE CUT) GIBBS: (INTO PHONE) Good, Tony. You're the bait, okay? Voss is out there somewhere watching you like he watched Chris. (SCENE CUT) TONY: (INTO PHONE) Like he watched Chris? GIBBS: (V.O./FILTERED) Enjoy your date... (SCENE CUT) GIBBS: (INTO PHONE) ...and stay out of elevators. (END TELEPHONE INTERCUTS) GIBBS: Let's go. CUT TO: INT. APARTMENT - DAY TONY: Okay, cover my back. MCGEE: Got it. Tony! Uh...how do I... how do I take the safety off? TONY: You take --! CUT TO: INT. SQUAD ROOM - DAY (ABBY AND GIBBS COLLIDE) GIBBS: In a rush, Abby? ABBY: I ran the prints from Amanda Reed's garbage. (GIBBS JERKS HER INTO THE ELEVATOR) ABBY: What the hell is wrong with you two? KATE: Tony made contact with Amanda. They're going to a pub. And Commander Voss is probably stalking Tony. ABBY: Oh, really. KATE: That's not funny. He probably klled Pacci. ABBY: Amanda mrder Pacci. GIBBS: Amanda. ABBY: Okay, I take it back. Commander Voss did it. GIBBS: Abby! ABBY: She's my daughter. My sister. My daughter. My sister. My daughter. Every print that I pulled off all those cosmetic jars you gave me come from one person. GIBBS: Amanda Reed. ABBY: Yes and no. GIBBS: Abby. ABBY: They belong to Lieutenant Commander Voss. Amanda is Voss! GIBBS: She's a he? ABBY: Yes! KATE: Oh my god! Tony's on a date with a guy. ABBY: Yeah. CUT TO: INT. PADDY'S PUB - DAY AMANDA: Oh, Stringfellow. You know you have beautiful eyes. TONY: (CHUCKLES) Call me String. AMANDA: You've got a great smile too. (SFX: PHONE RINGS) TONY: It's my boss. AMANDA: Work hours are over. It's time to play. TONY: Yeah, but I've got to take this because I've....got to take the call...from my boss. I....can always call him back later. (SFX: PASSIONATE KISSING) (CAMERA ANGLE ON MCGEE) MCGEE: Excuse me. A coke, please. CUT TO: INT. CAR - MOVING GIBBS: He's not answering. KATE: Maybe he can't. CUT TO: INT. PADDY'S PUB - DAY WAITRESS: Here you go. AMANDA: I'm going to go wash my hands before we eat. I'll be right back. TONY: Okay. AMANDA: Don't leave. TONY: Okay. (AMANDA WALKS O.S.) CUT TO: INT. CAR - MOVING GIBBS: (INTO PHONE) Why didn't you answer the phone? (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) TONY: (INTO PHONE) I couldn't. (SCENE CUT) GIBBS: (INTO PHONE) Where's Amanda? TONY: (V.O./FILTERED) Ladies room. GIBBS: (INTO PHONE) Swell, we can add that misdemeanor... (SCENE CUT) GIBBS: (V.O./FILTERED) ...to the mrder charges. TONY: (INTO PHONE) What? (SCENE CUT) GIBBS: (INTO PHONE) Amanda is Lieutenant Commander Voss, DiNozzo. TONY: (V.O./FILTERED) Stop it. Come on. GIBBS: (INTO PHONE) She's a he... (SCENE CUT) GIBBS: (V.O./FILTERED)...bonehead. And if he is packing a three fifty seven and a Knfe in his purse, he klled Chris. (END TELEPHONE INTERCUTS) AMANDA: Oh, I am famished. Aren't you hungry? TONY: I lost my appetite. AMANDA: Hmm. What's wrong? TONY: I don't know where to begin. AMANDA: Is this the same man I left sitting here a few minutes ago? TONY: I don't know. Are you the same woman? AMANDA: Oh, yes...I... TONY: Open your purse.(SFX: gn) (MUSIC OVER ACTION/ AMANDA LEAPS FROM THE TABLE SHOUTING) MCGEE: (SHOUTS) Federal agent! Move! (SFX: MEN ALL FIGHT/TABLES CRASHING) TONY: (SHOUTS) Stop him! Stop him! MCGEE: (SHOUTS) No, stop her! (AMANDA RUNS INTO GIBBS) GIBBS: His name was Special Agent Chris Pacci. And he was a friend. (MUSIC UP) (SFX: g*n) (AMANDA FALLS TO THE GROUND) KATE: Federal agents! So are those two! Let them go! MCGEE: Let me go. KATE: He didn't have a chance. Why'd he try? MUSICAL BRIDGE TO: INT. SQUAD ROOM - NIGHT KATE: Why are you going through everything before you box it? GIBBS: Force of habit. I don't want his family getting an unpleasant surprise. ABBY: That reminds me of The Crying Game. MCGEE: Don't know it. ABBY: It was such a cool flick. TONY: Abby, could you pick some other movie, please? ABBY: Oh, um... Victor, Victoria. TONY: That was a girl, pretending to be a guy, pretending to be a girl. ABBY: Right. TONY: Yeah, that one's okay. MCGEE: You gotta hand it to Commander Voss. In three years he hid in plain sight as a woman. KATE: Well, he wasn't a woman yet. The surgery was scheduled for next month in Bangkok. ABBY: Getting your plumbing turned outside in is so.... TONY: Hinky? ABBY: No, no. Way beyond hinky. It's.... KATE: Speaking of way beyond hinky, Tony. TONY: Okay. All right, give it to me, Kate. I can take it. KATE: What was it like... tonguing a guy? TONY: Forget it. I can't take it. (CUT TO BLACK) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x19 - d*ad Man Talking"}	foreverdreaming
FADE IN: INT. COUNTRY BAR - NIGHT (MUSIC PLAYS B.G.) VANESSA: I hate happy hour. Make a hole, people! CAROL: So at least two of your Marine buddies have disappeared and you think you could be next? Why? ATLAS: Do you have to write down everything I say? CAROL: I'm a reporter. It's what I do. ATLAS: I thought this was supposed to be a date. Look, if it turns out to be true, and if I'm next, you could end up dad, too. CAROL: And if my husband finds out about us, I'll be dad anyway. ATLAS: I didn't order a drink. CAROL: Is your name Atlas? ATLAS: Yeah. CAROL: Then I guess you've got a secret admirer. Enjoy. ATLAS: We should have gone to a hotel. CAROL: It's probably somebody you know. ATLAS: That's what I'm afraid of. I'll call you. CUT TO: EXT. PARKING LOT - NIGHT (SFX: MUSIC B.G.) ATLAS: (WEAKLY) I should have told... (ATLAS FALLS TO THE GROUND) CUT TO: INT. SEWER FLOOR - NIGHT (SFX: WATER DRIPS B.G.) (ATLAS SITS UP AND LOOKS AROUND) (SFX: CHAIN CLATTERS) (ATLAS SCREAMS) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "MISSING"(SFX: KEYBOARDING B.G.) KATE: I thought you couldn't type. TONY: I've decided to improve myself. KATE: Well, in that case, you might want to lose that shirt. It went out of style three years ago. TONY: This from a girl who keeps a pukka shell necklace in her purse. KATE: My grandma gave me those. Wait, you looked in my purse? TONY: Sorry, did I say that aloud? KATE: Tony, you are so lucky you didn't have sisters growing up. TONY: Why is that? KATE: Because you'd never have reached puberty. Of course one could argue you still haven't reached it. Very professional. TONY: It's my lunch break. KATE: It's nine-thirty in the morning. TONY: I'm on Greenwich Mean Time. KATE: You're going to be on unemployment if Gibbs catches you doing that. GIBBS: Catch him doing what, Kate? KATE: Nothing. Um... I was just giving Tony here some fashion advice. GIBBS: On what? KATE: Oh, he was just thinking about... getting both of his ears pierced. GIBBS: That right, DiNozzo? TONY: I think Kate misunderstood, boss. What I was really talking about was elongating the lobe. GIBBS: Hey, if you want to look like a gay pirate, that's your call. KATE: I thought you were going to an anti-terrorism conference today, Gibbs? GIBBS: Change in plan. A Marine gn Sergeant didn't show up for duty this week. TONY: Since when do we track down U-A Marines? GIBBS: Since he's one of a handful of people who knows how to arm small yield nuclear wapon. His S.R.B. I've got forty-five minutes to memorize it. And Tony? If that game's still on your computer in the morning, I'll pierce your ears myself. CUT TO: INT. COUNTRY BAR - DAY GIBBS: How long has the pick-up truck been in your lot? VANESSA: Since Friday night. KATE: Five days? Why wait so long to report it? VANESSA: Figured somebody got lucky, went home in a different car. Happens around here a lot. TONY: I'll bet it does. The guy we're looking for is a Marine. VANESSA: Yeah. We get a lot of those around here. Me? I like a man with hair. KATE: What about him? His name is gn Sergeant Bill Atlas. VANESSA: Yeah, sure. He was here Friday night. Is he all right? KATE: That's what we're trying to find out. GIBBS: Was he here with anyone? VANESSA: Yeah. Red head. Good looking. I think they're having an affair. GIBBS: What makes you say that? VANESSA: Because he went out the back and she went out the front. GIBBS: Kate you stay here. Get a description of the woman and check out his pick up truck. DiNozzo, you're with me. TONY: Uh... if you remember anything else, don't hesitate to call. VANESSA: What if I don't remember anything else? TONY: Don't hesitate to call. VANESSA: You got it, cowboy. (TONY WALKS O.S.) VANESSA: He is cute. What's his deal? KATE: Tony? VANESSA: Uh-huh. KATE: He's a nice guy. VANESSA: You two aren't... uh... you know. KATE: Oh. No. No. No way. We're just co-workers. VANESSA: Cool. I'm a sucker for a man in a checkered shirt. CUT TO: EXT. PARKING LOT - DAY TONY: Any chance Atlas decided to walk away from it all? GIBBS: The man could retire in a year. Nobody walks away from a twenty year pension. TONY: Then it doesn't look good for him. Statistically, most bodies turn up dad after four days. GIBBS: Four days, huh? Really, DiNozzo. Thanks for sharing. TONY: Well, I know you know. I'm just saying-- GIBBS: I'm not big on statistics. TONY: I kind of figured. I mean, since most marriages end in divorce, and you've been married three.... Maybe it's like the waitress said, he got lucky. GIBBS: Spread out. I want to know why Atlas never got back to his truck. (INTERCUT SERIES OF FLASH PHOTOS) GIBBS: DiNozzo! Hey! Get your butt over here. VANESSA: Is he always like that? TONY: Uh, only when he's awake. GIBBS: Atlas was forced to leave here. No Marine would leave a Zippo like this behind. TONY: I've got an unsmoked cigarette here. GIBBS: Bag it. TONY: What're you thinking, Boss? GIBBS: Wherever Atlas is... his luck is running out. CUT TO: INT. SEWER - DAY (SFX: WATER DRIPS B.G.) ATLAS: You don't have to do this. Just tell me... just tell me what you want. What about some food? Can I at least have some food? (SHOUTS) Say something! Who the hell are you?! (ATLAS SHOUTS AND PULLS ON THE CHAIN) CUT TO: INT. BAR - DAY KATE: I've got a rough sketch of the woman Atlas was having an affair with. It's not much to go on, but if he was having an affair with a married woman then we have a motive for someone wanting him to vanish. GIBBS: Pull his phone records. See if we can't match that face with a phone number. KATE: I already made a request for the subpoena. GIBBS: Oh, DiNozzo. He's about a step from vanishing himself. (SHOUTS) Hey! TONY: Ciao, bella. WOMAN: See you.(TONY WALKS TO GIBBS) TONY: I got her name, boss. GIBBS: Do I look like I care, DiNozzo? Let's go. TONY: The woman with Atlas, her name's Carol Powers. I got the waitress to remember she paid using a credit card. She's a reporter for The Post. I can have her in our office in an hour if you're interested. GIBBS: Good job. TONY: I'm sorry, boss. Did you say something? Did he just say something, Kate? KATE: Don't push it, Tony. TONY: Pushing it is what I love about this job. That and the beautiful girls. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY KATE: I appreciate you coming down here on such short notice, Mrs. Powers. Please, have a seat. CAROL: Can the polite act, Agent Todd. What exactly do you want from me? KATE: Information. CAROL: About what? KATE: Your relationship with gn Sergeant Atlas. CAROL: Who? KATE: Look familiar? CAROL: Ah yeah. Maybe. I'm a reporter. I've interviewed dozens of Marines. KATE: The thing is, this Marine disappeared five days ago. My job is to get him back. CAROL: What's that got to do with me? KATE: Does your husband know you're having an affair? CAROL: Excuse me? KATE: I'll take that as a no. CAROL: I think we're done here. TONY: Here's the phone number you requested, Agent Todd. KATE: Should I try your husband at home or work this time of day, Mrs. Powers? (SFX: TELEPHONE BEEP TONES) CUT TO: INT. OBSERVATION ROOM - DAY CAROL: I don't know what happened to Atlas, okay? But my husband had nothing to do with this. GIBBS: So he knew you were having an affair? CAROL: No! Derek was on assignment... CUT TO: INT. INTERVIEW ROOM - DAY CAROL: ... in Italy, and he just got back last night. You can check with The Post, they'll vouch for him. GIBBS: Oh, I will. CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: (V.O.) How did you meet Atlas? CAROL: (V.O.) Uh... at a bar three weeks ago. He said he had a... CUT TO: INT. INTERVIEW ROOM CAROL: ... story that I might be interested in. GIBBS: Do you sleep with anyone who offers you a story, or is that one of the fringe benefits? CAROL: This is a nightmare. GIBBS: What story did Atlas tell you? CUT TO: INT. OBSERVATION ROOM - DAY CAROL: He thought someone might have klled his friends and that he could be next. GIBBS: (V.O.) Did he say why? CAROL: He wouldn't tell me. I thought it might be connected with his work in Iraq. CUT TO: INT. INTERROGATION ROOM - DAY CAROL: Some kind of cover up. GIBBS: It says here you write articles on home improvement. CAROL: Gardens mostly. I just... I thought if I could get a story like this, I could... GIBBS: Oh, yeah. I understand. Most reporters... they'd absolutely kll for a scoop like this. CAROL: He tried to warn me. He told me that if he talked, something like this might happen. GIBBS: Something like what? CAROL: Someone in his unit would kll him. (MUSIC UP AND OUT) FADE IN: INT. OBSERVATION ROOM - DAY KATE: I think she's telling the truth. TONY: The question is was gn Sergeant Atlas? Some guys will say anything to get a woman into bed. KATE: Well, she's a reporter. I doubt she'd fall for something like that. TONY: You're kidding, right? KATE: What do you mean? TONY: All men lie to some degree, Kate. It's expected of them. KATE: All right, well don't confuse your world with reality, Tony. TONY: It's like when a woman asks a man to guess her age. Have you ever done that? Do you honestly still believe you still look twenty five? KATE: Not anymore. CUT TO: INT. CORRIDOR - DAY CAROL: I've never done anything like this before. I only wanted a story.(GIBBS AND CAROL WALK TO SQUAD ROOM) GIBBS: You got one. CAROL: Is there any way, anything that I can do to keep my husband out of this? GIBBS: Truth? Nope. CAROL: You know, I could publish what Atlas told me. It wouldn't look so good for the Marine Corps. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) GIBBS: I don't read The Post. Watch your step. CAROL: Regardless of what you may think of me, Agent Gibbs, I truly hope that you find Bill and that he's still alive. GIBBS: Me, too.(SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) KATE: You were pretty tough on her in there. GIBBS: Yes, she reminds me of my ex-wife. TONY: Which one? GIBBS: All of them. Did her husband's story check out? TONY: He was in Italy, arrived at Reagan National last night at twenty one sixteen. Looks like a dad end. KATE: Do you believe that story about a cover-up in Iraq, Gibbs? GIBBS: I don't know. I'm more concerned about what's happening here. KATE: Meaning? GIBBS: Meaning Atlas was a twenty three thirty six. TONY: explsive Ordinance Disposal Technician. Guys can make or disarm anything from a grenade to a... backpack nuke. GIBBS: If someone's kidnapping E-O-D personnel, I want to know why. KATE: trrorists? GIBBS: Is anyone missing from Atlas' unit? KATE: They're all accounted for. But I might have something else here. A new C.O. checked into his command last month, Major Joe Sacco. His record's clean except for a non-punitive letter of punishment from when he was a First Lieutenant. GIBBS: For what? KATE: He got into a fight with a couple of enlisted men in ninety two. Atlas was one of them. (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. We're on our way. (TO KATE) Abby's found something. KATE: Do you think Atlas is still alive? TONY: No ransom note? Been missing over five days? I'd say the odds were against him. CUT TO: INT. SEWER - DAY (SFX: ATLAS DRINKS FROM THE GROUND) ATLAS: What are you doing, you sick bastard? Do you think you can make me talk? (ATLAS SHOUTS) ATLAS: Who are you? What is the name of your organization? (SFX: WASPS BUZZ B.G.) (SFX: ATLAS SCREAMS) CUT TO: INT. NCIS LAB - DAY ABBY: Hi, guys! GIBBS TONY AND KATE: (IN UNISON) Hey, Abby. ABBY: I think I found out how they found your missing Marine. KATE: From one cigarette butt? ABBY: Well, I was kind of bored, so I thought it'd be fun to run every single test I could think of. I was almost to a rpe kit when... I mentioned I was a little bored earlier, right? GIBBS: Yeah, we noticed, Abs. TONY: What the hell is that? ABBY: I'm building a model of Gallipoli. See, these guys over here... GIBBS: Why? ABBY: Because I like the way it sounds. Gallipoli. Gallipoli. Gallipoli. Gallipoli. Gallipoli. Gallipoli. GIBBS: Stop. TONY: Is this one a Turk or an Anzac. ABBY: Um, actually he's uh... GIBBS: What'd you find? ABBY: Atlas' DNA was on the cigarette. So most likely it's his. TONY: That's it?! ABBY: I wasn't finished yet, Tony. I also found high concentrations of ephedrine, dihydrocodeine and caffeine. Sound familiar? TONY AND GIBBS: Bron. ABBY: And from the way it was concentrated, it looks like he ingested enough to knock out a racehorse. KATE: Bron? TONY: It's a mixture of speed and codeine. It's illegal here by available over the counter in the Philippines and Okinawa, Japan. KATE: Okinawa? That was Major Sacco's last duty station. GIBBS: Check out the ride. We're going to Quantico. TONY: Oh, boss. Rush hour. Real bad idea to get on the road about now. I'll be outside. KATE: Good job, Abby. ABBY: Thanks, Kate. GIBBS: Hey Abby, still bored? ABBY: Well yeah, maybe a little. GIBBS: I think I have a more constructive way for you to spend your time. I need some help. ABBY: Okay. GIBBS: By the way, Gallipoli was an amphibious operation. ABBY: Oh... hmm. Well, it's on Styrofoam so it'll float. CUT TO: EXT. FREEWAY - DAY (SFX: CARS HONK B.G.) TONY: (V.O.) Rush hour. (ON CAMERA) It's kind of a misnomer if you ask me. GIBBS: I didn't. TONY: I mean, it's not like anybody's really rushing anywhere, and it always takes more than an hour. They should call it like-- GIBBS: Shut up and sit there before I sht you hour. TONY: I was thinking of something a little shorter. (SFX: TONY SLURPS THE DRINK) (GIBBS THROWS THE CUP OUT THE WINDOW) TONY: That's littering. GIBBS: Fine me. KATE: (INTO PHONE) No, I'm still here. Thanks, Corporal. (TO GIBBS) Major Sacco is in the field right now. GIBBS: Doing what? KATE: According to his office, disarming a bmb. CUT TO: EXT. DIRT ROAD - DAY JACKSON: We've got five minutes here. Looks like closed circuit. DAVIS: Five minutes I can disarm a nuke sub. Checking for secondary initiators. We are clear. Thank you, Sir. Watch and learn, my friend. Most people prefer the blue wire. Me? I'm partial to-- (SFX: BEEP TONE) JACKSON: What the hell did you just do? DAVIS: Nothing. I didn't touch nothing. (SFX: RAPID BEEP TONES) (SFX: HUGE explsin) SACCO: Way to go, MacGyver. If that were real we'd be washing you off the streets of Baghdad right now. Never assume that timer is accurate. The bad guys watch movies, too. JACKSON: Yes, Sir. GIBBS: Major Sacco! Special Agent Gibbs, NCIS. We need to talk. CUT TO: EXT. RANGE - DAY SACCO: It wouldn't surprise me if Atlas showed up tomorrow still hung over. TONY: He pulled a disappearing act before? SACCO: Never this long, but he's had some alcohol related problems in the past. GIBBS: You've got a missing Marine, Major. You don't seem too concerned about it. SACCO: My only concern right now is getting my men ready to deploy to Iraq. GIBBS: What about the gn? Is he deployable? SACCO: Unfortunately. I've served with Atlas before. In my opinion, we're better off without him. GIBBS: Yeah? Why's that? SACCO: He's a marginal Marine. KATE: Seems like the two of you had some person problems, Major. SACCO: You could say that, Agent Todd. GIBBS: Tell me about them. SACCO: If you're interested, you can read about it in my record book. GIBBS: I have. You two got in a fist fight in ninety two. About what? SACCO: Nothing. A couple of my men got drunk one night. Atlas took a swing at me. I overreacted. DAVIS: Sir, demo's waiting. They're waiting on your command. SACCO: Roger that, Corporal. (TO GIBBS) We only have this range for another hour. When you find Atlas, let him know that I have a charge sheet waiting for him. (SACCO WALKS O.S.) KATE: He's hiding something. GIBBS: Oh, yeah. TONY: The question is what? GIBBS: You two might want to cover your-- (SFX: HUGE explsin) GIBBS: ...ears. (TONY LAUGHS) CUT TO: INT. CAR - MOVING (SFX: CAR DRIVES OVER DIRT ROAD) TONY: Boss, is there a reason why you only take these back roads?(SFX: CAR ENGINE B.G.) KATE: Or do you just hate us? GIBBS: I hate traffic more. TONY: I think I'm going to puke. GIBBS: Roll down the window! TONY: Oh...(SFX: PHONE RINGS) GIBBS: Here, answer this! ABBY: (V.O./FILTERED) Hey Gibbs, it's me, Abby. I've got... KATE: (INTO PHONE) It's Kate!(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) Hey, Kate. Where's the boss man? (SCENE CUT) KATE: (INTO PHONE) He's driving! We should be back soon. (SCENE CUT) ABBY: (INTO PHONE) Oh, is he taking you on one of his special shortcuts? (SCENE CUT) KATE: (INTO PHONE) If that's what you want to call it! (SCENE CUT) KATE: (V.O./FILTERED) What's up?! ABBY: (INTO PHONE) Well, Gibbs asked me to do some background on Atlas and Sacco, and... (SCENE CUT) ABBY: (V.O./FILTERED) ...I found something interesting. KATE: (INTO PHONE) You're going to have to speak up! Gibbs is apparently trying to kll us! (SCENE CUT) ABBY: (INTO PHONE) Three other Marines have gone missing from E.O.D. units in the last eight years. (SCENE CUT) GIBBS: What's she saying? KATE: (SHOUTS) Three Marines have gone missing from E.O.D units. GIBBS: Why didn't we hear that? KATE: (SHOUTS/INTO PHONE) Why didn't we hear about it? (SCENE CUT) ABBY: (INTO PHONE) They're carried as deserters by the Marine Corps rolls after thirty days. (SCENE CUT) KATE: They're considered deserters. ABBY: (V.O./FILTERED) They all have two things in common... (SCENE CUT) ABBY: (INTO PHONE) ...with Atlas. They all served together in the Philippines in nineteen ninety two. And their platoon commander was Joe Sacco. (END TELEPHONE INTERCUTS) CUT TO: INT. SEWER - DAY ATLAS: (WEAKLY) I can't... I can't...(ATLAS MOANS/ SWINGS AT THE WASPS) (CUT TO BLACK) FADE IN: INT. SQUAD ROOM - DAY KATE: Corporal Tom O'Conner, reported U-A on August second, ninety six. Sergeant Rick Hall... reported U-A March eleventh, ninety eight. Staff Sergeant John Mohs, reported U-A on December tenth, two thousand. And now gn Sergeant Atlas, five days ago. All four served in the Philippines in ninety two with Joe Sacco, and all four subsequently disappeared without a trace. TONY: So why is it no one else picked up on this before us? KATE: Well, we wouldn't have picked up on it if Abby wasn't bored. These men were considered deserters. Nobody ever connected them until we did today. TONY: So let's pick up Sacco, find out what's going on. GIBBS: Not yet. KATE: Well, I think he's right, Gibbs. I mean, we could be dealing with a potential serial kller here. GIBBS: What if it's not Sacco? KATE: Well, if it's not him, then he's probably the next one on the missing list. GIBBS: I want everything there is on that E-O-D team from ninety two. Kate, get with Abby and start where she left off. Tony, you concentrate on Sacco. I want everything from his birth until right now. TONY: You remember the good old days, Kate? KATE: What good old days? TONY: When Gibbs would confide in us and treat us like peers. KATE: No. TONY: Good, I thought I was the only one. CUT TO: INT. MTAC ROOM - NIGHT (MUSIC OVER VIDEO IMAGES) CUT TO: INT. AUTOPSY ROOM - FLASHBACK GIBBS: Why? ARI: Why not? (SFX: gn) CUT TO: INT. MTAC ROOM - NIGHT (GIBBS WATCHES THE IMAGES) CUT TO: INT. NCIS LAB - DAY ABBY: Hey, Kate. I was just about to call you. KATE: Uh... Gibbs wants uh... wants me to ... ABBY: They're boats. I was recently informed that Gallipoli was an amphib operation. KATE: Okay. So what can you tell me about Sacco's old unit? ABBY: Um... in ninety two we were closing the base in the Philippines. And Sacco's E-O-D team was in charge of clearing out the ammniton storage dumps. KATE: Do we know how big his unit was? ABBY: We could ask him, but in my experience, most men lie about that point. There were six of them. KATE: Okay, so if there were six, that means... ABBY: There's one of them still running around out there. Which is why I was going to call you. Meet Corporal Mark Cohen. KATE: Where's he stationed? ABBY: He's not. He got the big chicken dinner back in ninety nine. KATE: What, Abby? ABBY: Bad conduct discharge. The Marine Corps doesn't keep track after they separate. KATE: So what was the chicken dinner for? ABBY: asault his company commander. KATE: I think we just found our second suspect. ABBY: Not quite. I've been running his social and... I haven't been able to find him anywhere. KATE: Oh. ABBY: I always feel like Mister Rogers when I leave here. KATE: Where are you going? ABBY: Gibbs didn't tell you? KATE: Tell me what? ABBY: I have a party to go to. KATE: How did you get him to agree to that? ABBY: I asked him. So if you need me, call me. You just umm... disregard any sounds that you may or may not hear in the background. CUT TO: INT. SQUAD ROOM - DAY (SFX: DINOZZO SNORES B.G.) GIBBS: (SHOUTS) DiNozzo! TONY: You'll have to speak louder, boss. I haven't been able to hear anything since that explsin yesterday. GIBBS: Find Kate. I want a full briefing in twenty minutes. TONY: You got it. Kate? (SHOUTS) Kate! KATE: (GASPS) What?! TONY: Time to wake up. KATE: Mm... I feel like hell. TONY: Yeah, you don't look too good either. CUT TO: INT. SEWER - DAY (SFX: DOOR SLAMS SHUT) ATLAS: Who? Who is... ah... oh, my god! Oh... I didn't know! I swear I didn't know! You have to believe me! CUT TO: INT. SQUAD ROOM - DAY GIBBS: Kate, what have we got? KATE: Oh, how can you eat that stuff? It's seven thirty in the morning. GIBBS: (MUFFLED) Practice. It's good. You want some? KATE: I'll pass. We're still trying to track down former Corporal Cohen. He left a trail 'till two thousand two, then nothing. GIBBS: Tony? TONY: (MUFFLED) Sacco was stationed in the same vicinity with all four Marines who went U-A. That's got to be more than a coincidence. GIBBS: What have you learned about the fight in his record book? TONY: Well, I called the Colonel he was working for in ninety two. He didn't remember much. It could have been because it was two a.m. when I called him, but you never know. GIBBS: (MUFFLED) What'd he say? TONY: He thinks it was over a woman. GIBBS: An all nighter and this is all I get? KATE: We're recreating a twelve year history, Gibbs. What did you expect? GIBBS: More. KATE: Okay, then bring Major Sacco in for questioning. GIBBS: (MUFFLED) Give me something I can nail him with and I will. TONY: I'll get it for you. GIBBS: Yeah. How? TONY: Let me shadow him for a couple of days. If he's got a screw loose, I'll know it. He might lead us to Atlas. GIBBS: All right. TONY: Listen, boss, I'm telling you... it beats sitting around here doing nothing. I'm out there trying to find him. KATE: (OVERLAP) He said okay, Tony. TONY: Oh. I'm telling you, that explsin really messed my hearing up. KATE: I'll go with him. GIBBS: No. No. I need you here. DiNozzo, you call in every hour. If you forget one time - call in late - don't bother coming back. KATE: Look, just don't take any chances, okay? I mean, if we're right about Sacco, he's got more than a screw loose. TONY: Here I was thinking you didn't care. KATE: It has nothing to do with caring. If anything happens to you, I'm going to be stuck working here with Gibbs alone. TONY: Oh, he's not that bad. A little grumpy sometimes... GIBBS: (SHOUTS) Hey, DiNozzo! Are you still here?! TONY: Then again, you may be on to something. CUT TO: INT. NCIS LAB - DAY (MUSIC PLAYS B.G.) ABBY: So I found Cohen. I think we can cross him off the suspect list. He's dad. KATE: How? ABBY: They found him last year in the sewer system in Old Town Alexandria chained to a wall. Not a pretty picture. It looks like he was down there for a while. The locals are sending us copies of the crime scene report, autopsy, and evidence of the scene. It's a cold case. GIBBS: Not anymore. ABBY: Hey, where's Tony? GIBBS: I've got him tailing Sacco. ABBY: Alone? GIBBS: He does his best work when there's not an audience around. ABBY: I've got a weird feeling. GIBBS: Abs, you always have a weird feeling. ABBY: I know, but this one's different. GIBBS: He can take care of himself. You let me know when those records show up. (GIBBS WALKS O.S.) ABBY: Got it. What do you think, Kate? KATE: Well, I think you're just suffering from the effects of your party last night. ABBY: All I drank was Red Bull. KATE: How many? ABBY: Eighteen. CUT TO: INT. CAR - MOVING (SFX: PHONE RINGS) TONY: (INTO PHONE) DiNozzo.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) What's the word? TONY: (V.O./FILTERED) Sacco just left the base. I... (SCENE CUT) TONY: (INTO PHONE) ...think he's heading home for the night. (SCENE CUT) GIBBS: (INTO PHONE) We found Cohen. TONY: (V.O./FILTERED) Where? GIBBS: (INTO PHONE) Chained to a sewer pipe. He's dad. (SCENE CUT) TONY: (INTO PHONE) It looks like we're running out of suspects. (SCENE CUT) GIBBS: (INTO PHONE) Yeah, it sure looks that way, huh? (SCENE CUT) TONY: (INTO PHONE) Do you want me to pick him up? GIBBS: (V.O./FILTERED) Negative. Just keep him under... (SCENE CUT) GIBBS: (INTO PHONE) ... surveillance. TONY: (V.O./FILTERED) Whoa, hold on a sec. (SCENE CUT) TONY: (INTO PHONE) You are not going to believe where he's pulling in right now. (SCENE CUT) GIBBS: (INTO PHONE) Hammersmith's Country Bar. (SCENE CUT) TONY: (INTO PHONE) Okay, maybe you will. GIBBS: (V.O./FILTERED) I'm getting a search warrant for his house. (SCENE CUT) GIBBS: (INTO PHONE) You let me know when he leaves. (SCENE CUT) TONY: (INTO PHONE) Roger that. (SCENE CUT) GIBBS: (INTO PHONE) DiNozzo, watch your six. (SCENE CUT) TONY: (INTO PHONE) Always. (END TELEPHONE INTERCUTS) CUT TO: INT. BAR - NIGHT (MUSIC PLAYS B.G.) (TONY WALKS TO THE BAR) BARTENDER: What are you drinking? TONY: I don't suppose you have any sarsaparilla? How about a ginger ale? BARTENDER: Sure. VANESSA: Hey cowboy! TONY: Hey. VANESSA: Are you here for business or my pleasure. BARTENDER: One ginger ale. VANESSA: Business. And you haven't found your Marine. TONY: Not yet. VANESSA: Maybe I can help you look. CUT TO: INT. SQUAD ROOM - NIGHT KATE: This is everything the Alexandria P.D. found on Corporal Cohen. GIBBS: Hmm. That's interesting. KATE: According to Cohen's records he was Jewish. GIBBS: What about Sacco? KATE: He's Baptist. CUT TO: INT. BAR - NIGHT (MUSIC B.G.) SACCO: Thank you. CUSTOMER: Hey! TONY: Sorry. Debbie Sue, it's me! Bobby Lee! Mister Burt's English class. WOMAN: Who? TONY: Oh, come on. It's my bad. Uh... I thought you were someone else. Take care of her. She's a real keeper. CUT TO: EXT. BAR - NIGHT (MUSIC OVER ACTION/TONY WALKS FROM THE BAR ENTRANCE) (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Hey. (SCENE CUT) TONY: (INTO PHONE) Gibbs. (SCENE CUT) GIBBS: (INTO PHONE) What's up? (SCENE CUT) TONY: (INTO PHONE) Sacco just left the bar, uh... uh... uh... I'm not feeling so well. (SCENE CUT) GIBBS: (INTO PHONE) Tony? Are you okay? (SCENE CUT) TONY: (INTO PHONE) I think I screwed up, boss. (TONY FALLS TO THE GROUND) (SCENE CUT) GIBBS: (INTO PHONE) Hey, DiNozzo. Can you hear me? (SCENE CUT) GIBBS: (V.O./FILTERED) Hey Tony! Tony! Tony! Do you hear me?! We're coming for you! (END TELEPHONE INTERCUTS) DISSOLVE TO: INT. SEWER - NIGHT ATLAS: Welcome to hell. (CUT TO BLACK) MUSIC IN: EXT. BAR - NIGHT (GIBBS WALKS IN THE PARKING LOT) KATE: I've interviewed everyone in the area. No one saw Tony after he came out of the bar. You don't think he's... I don't either. GIBBS: Sacco. KATE: We've got people at his house, an A-P-B out on his vehicle. It's only a matter of time before we pick him up. GIBBS: Yeah, well... time's the one thing we don't have. (INTO PHONE) Gibbs, for the Director. CUT TO: INT. SEWER - NIGHT ATLAS: Only a week? It feels like... it feels like months. TONY: Hey hey hey. Conserve your strength, okay? You're going to need it. ATLAS: For what? TONY: For when I get us out of here. ATLAS: You got a plan? TONY: Of course I do. I found you, didn't I? Granted, the escape part's still a little fuzzy, but I just got here. ATLAS: Well, unless you're a blacksmith, we're pretty much screwed here. TONY: You need to think positive, gn. ATLAS: You're right. I'm positive I'm screwed. TONY: A sense of humor's good. You're gonna need that. Okay, let's get this chain off your leg. ATLAS: How? TONY: Rule nine. ATLAS: What? TONY: Yeah, those rules they teach you guys in the Marine Corps. ATLAS: What rules? TONY: Huh. I always suspected Gibbs was making that stuff up. Well, rule nine is uh... never go anywhere... without a Knfe. ATLAS: Even if you get it off, how do we get out of the room? TONY: Hey, one thing at a time, huh, gn? CUT TO: INT. SQUAD ROOM - DAY KATE: We're dealing with a serial kller who is methodical and patient. He spread his kills out over an eight year period. And if we go by Cohen's case, he's into making them suffer. But why did he go after Tony? GIBBS: He saw something tonight, something Major Sacco doesn't want us to know about. KATE: Then why didn't Tony tell us? GIBBS: Because maybe he didn't think it was important at the time? MCGEE: Have we heard anything from Agent DiNozzo yet? GIBBS: McGee, you're late. Kate, bring him up to speed. MCGEE: Uh... uh... where can I set up shop? KATE: Take Tony's desk. MCGEE: You don't think he'll mind? KATE: I think Tony's got other things on his mind right now, McGee. CUT TO: INT. SEWER - NIGHT TONY: All right. All right, you're going to need to carry this. All right? ATLAS: I need to confess something. TONY: Well, when we get out of here I'll find you a priest. ATLAS: No. I deserve this. I belong here. You don't. TONY: No one deserves this, gn. ATLAS: It was an accident. He must have found out about it. TONY: Found out what? ATLAS: We klled four girls, Agent DiNozzo. And Major Sacco was in love with one of them. MUSICAL BRIDGE TO: INT. AUTOPSY LAB - NIGHT DUCKY: I reviewed Corporal Cohen's autopsy results from two thousand two. His body tissue had high concentrations of insect venom, honey bees to be exact. GIBBS: Did it kll him? DUCKY: Unfortunately no. Our young friend starved to death. And judging by the fat and muscle tissue loss, it happened over a period of weeks if not months. GIBBS: That's the first good news I've heard all day. DUCKY: Huh? GIBBS: It means there's a chance Tony and Atlas are still alive. DUCKY: You'll find him, Jethro. GIBBS: That a question or a statement, Duck? (GIBBS WALKS O.S.) DUCKY: A little bit of both, I'm afraid. CUT TO: INT. SEWER - NIGHT (ACTION CONTINUES/TONY ATTEMPTS TO OPEN THE DOOR) TONY: Damn! Tell me more about the girls. ATLAS: The base was closing. We all had girlfriends out in the town. We didn't want to leave them. TONY: So you decided to kll them? That makes sense. ATLAS: They would have been better off if we had. Instead, we tried to smuggle them back to the States inside shipping containers. TONY: You mailed your girlfriends home? ATLAS: Shipped. But Lieutenant Sacco changed our orders at the last minute. He split us up and put us all on different ships. We all assumed that one of us was on the one with the girls. TONY: Oh, my god... CUT TO: INT. CONTAINER - FLASHBACK (SFX: GIRLS SCREAM B.G.) ATLAS: (V.O.) They were padlocked from the outside. They only had enough food and water for a few days. DISSOLVE TO: INT. SEWER - NIGHT ATLAS: Everyone thought they stowed away themselves. But it was us. We klled them Agent DiNozzo. TONY: One of them was Sacco's girl? ATLAS: Was. She left him for me. That's probably why he saved me for last. CUT TO: EXT. SEWER ENTRANCE - NIGHT (CAR BRAKES TO A STOP) (MUSIC OVER ACTION/SACCO MOVES SLOWLY INTO THE SEWER) CUT TO: INT. NCIS LAB - NIGHT GIBBS: What do you got? ABBY: I pulled a partial fingerprint off the silver cross found on Corporal Cohen's. GIBBS: Major Sacco's? ABBY: No. MCGEE: It's not listed in any database. GIBBS: Abs, you could have told me that on the phone. ABBY: I know. But I did find a match. MCGEE: We just don't have a name... yet. KATE: A match from where? ABBY: The reporter's credit card receipt from the bar. KATE: She wasn't after a story. She was working with Sacco. MCGEE: Well, that's one possibility. I recommend that we run a test-- GIBBS: (INTO PHONE) Gibbs. Secure the area. We're on our way. (TO KATE) Manassas P.D. located Sacco's car. McGee, get me an arrest warrant on Carol Powers. MCGEE: You got it, boss. Uh...I mean... Agent Gibbs. GIBBS: Let's roll. ABBY: Hey, bring him back, all right? CUT TO: INT. SEWER TONY: (V.O.) I think I got it this time. (ON CAMERA) Come on. Come on, baby. Here you go. (DOOR HANDLE LIFTS/CLOSES) ATLAS: I won't make it. I can... I can barely stay...conscious. TONY: I must have read your file wrong, gn. It said you were a Marine. ATLAS: I am a Marine. TONY: If you say so. Most Marines I know... they don't quit. CUT TO: EXT. SEWER ENTRANCE - DAWN (CAR BRAKES TO A STOP) GIBBS: Special Agent Gibbs, NCIS. OFFICER: We think they're down in the sewer system. I've got two K-nine units on the way. GIBBS: Who does this other car belong to? OFFICER: Plates came back stolen. It looks like it was abandoned here. GIBBS: We're going in. OFFICER: I'd wait for the dogs. Was down there once looking for a kid. Got lost for almost three hours. GIBBS: We don't get lost. (DOOR OPENS) CUT TO: INT. SEWER - DAY (MUSIC OVER ACTION/SACCO MOVES TOWARD THE ROOM) (DOOR OPENS) SACCO: (SHOUTS) gn! CUT TO: INT. CORRIDOR - DAY (TONY AND ATLAS MOVE QUICKLY THROUGH THE CORRIDOR) SACCO: (V.O.) gn! gn! Where'd you go?! you?! gn! gn! I know you're here!(ATLAS AND TONY MOVE THROUGH THE WATER) CUT TO: INT. SEWER CORRIDOR (KATE AND GIBBS MOVE THROUGH THE WATER) SACCO: (V.O.) Where the hell are you? KATE: Thank god Tony's still alive! Who else do you know who pisses people off like that? SACCO: (V.O.) gn! CUT TO: INT. SEWER ATLAS: Stop. SACCO: (V.O.) Where are you? ATLAS: I have to stop. Stop. TONY: Hey, listen. SACCO: (V.O.) gn! TONY: You've got ten seconds, okay? SACCO: (V.O.) gn! Where the hell are you?! TONY: Didn't we already pass by here? SACCO: (V.O.) gn! TONY: Okay, come on. ATLAS: I can't. TONY: I'll carry you if I have to, all right? Come on. ATLAS: Leave me. TONY: Come on. ATLAS: Leave me! GIBBS: (V.O.) Tony? TONY: Gibbs! GIBBS: DiNozzo! TONY: Hey, what are you doing down here? GIBBS: What do you think I'm doing here? TONY: Is that Kate? KATE: Yeah. GIBBS: How'd you get over there? TONY: I'm kind of winging it. Atlas is in pretty bad shape. GIBBS: Stay where you are. We'll work our way to you. TONY: I can't. Sacco is right behind us. GIBBS: Okay, go. Go! Keep moving. We'll catch up to you. TONY: Come on, gn. Are you all right? Come on. Come on. (MUSIC OVER ACTION/TONY AND ATLAS WALK THROUGH THE WATER) CUT TO: INT. SEWER - DAY SACCO: Hey gn! If you're down here, answer me! CUT TO: INT. SEWER - DAY TONY: All right. Hang in there, Marine. We're gonna make it. There you go. My father was right. I'm going to end up in the gutter. SACCO: You? Why didn't you stop? TONY: Put down the wapon and we'll talk about it. SACCO: You think I'm gonna sh*t you? TONY: It crossed my mind. SACCO: I followed her here. I didn't want to believe it, but it's true. She's completely insane. But we've got to get him out of here before she finds us. TONY: Who? (SFX: gn) VANESSA: That would be me. You might want to lose that Knfe, cowboy. You don't recognize me, do you, Sergeant Bill? ATLAS: Vanessa? I thought... VANESSA: I was dad. I know. You all did. Except for Sacco. He's the one who found me half alive. CUT TO: INT. CONTAINER - FLASHBACK (DOOR OPENS) SACCO: My god... (SACCO MOVES TO THE WOMAN) SACCO: It's all right. I've got you. You're all right. SWISH PAN TO: INT. SEWER VANESSA: At first I was grateful. But then he turned out to be like the rest of them. He wanted to control me. TONY: Are you the one who klled all those Marines? VANESSA: Not yet. (GIBBS AND KATE MOVE TOWARD VANESSA) KATE: (WHISPERS) It's the waitress from the bar. GIBBS: (WHISPERS) We take it slow. If you think she's going to sht, you take her out. TONY: You don't want to do this. VANESSA: I've been doing this for eight years. I was the youngest. They gave me all their food. And slowly each one of them died. Do you know what it's like to watch your friends die? To sleep with their corpses? Do you? TONY: We can't let you do this, Vanessa. VANESSA: We? KATE: (SHOUTS) Drop it! (SFX: gn) TONY: Yeah, my friends. CUT TO: INT. ELEVATOR - DAY TONY: Admit it, you were worried about me. Right? You don't have to say anything. I know. Okay, I want you to say it. You care, right? (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) TONY: So are you saying you don't care? GIBBS: Tony, as far as I'm concerned, you're irreplaceable. TONY: I knew it. I knew behind the whole Marine thing, you really are at heart... GIBBS: Forget about it, McGee. He's still alive. (MUSIC OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x20 - Missing"}	foreverdreaming
MUSIC IN: EXT. CLEARING - DAY (MUSIC PLAYS B.G.) CHUCK: (ON VIDEO) All right, dudes. This is it. This is going to be epoch. HAT: If we pull this off, Johnny Knoxville will be asking us for a job. SCOTT: The only job anyone's asking you for-- CHUCK: Guys, shut up and concentrate. You let me go before I find that line and things are going to get ugly. SCOTT: Are you sure that line's where you need to be? CHUCK: I did the math, bro. All right, Zack, you ready? All right, guys, (ON VIDEO) I'm Chuck Mannis and this is the Human Sling sht! (ON CAMERA) Okay guys on three... one, two, three! (MUSIC OVER ACTION/CHUCK FLIES THROUGH THE AIR) (CHUCK SHOUTS/LANDS ON THE GROUND) SCOTT: Ho! FRIEND: Chuck! SCOTT: Chuck! (ALL RUN TO THE CLEARING) HAT: Chuck! Hey! Chuck, man, are you all right? Dude, are you hurt? Dude... CHUCK: That... was... awesome! (LAUGHTER) (CAMERA ANGLE ON THE CORPSE) (CUT TO BLACK) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. CLEARING - DAY "SPLIT DECISION" DUCKY: Odd coincidence how nature and circumstance have conspired to place you in this position, my friend. Though I imagine the irony isn't of much interest to you now. GIBBS: What do you see, Duck? DUCKY: Well, some blood and tissue residue on the stump, though not nearly enough for this to be the impaling instrument of his demise. KATE: He had that hole in him before he landed there? DUCKY: Precisely, yes. TONY: Plain old ring-toss doesn't cut it for some people. GIBBS: What put the hole in him? DUCKY: Well, it's approximately eight inches in diameter, metallic shrapnel residue, organ and tissue damage consistent with a high velocity object. I've only seen this one time before - in a Somali village called M'butatu. A young sheepherder made the mistake of impregnating the daughters of a local wrlord. TONY: And they cored him out like an apple? DUCKY: I can assure you, Tony, they take such things very seriously in Somalia. GIBBS: What'd they do it? DUCKY: Good old fashioned Soviet technology. A shoulder-fired anti-tnk mssile at twenty paces. KATE: It's what they use to sh*t our helicopters down in Iraq. TONY: Red, white, and blue version's called the SMAW - shoulder-launched multi-purpose asault wapon. GIBBS: The safety backblast on that wapon is a hundred meters. Yeah. Yeah, they fired from right in here someplace. He was there. The warhead damage should be somewhere on this line. TONY: On it. KATE: What are you looking for? GIBBS: This. KATE: What is it? GIBBS: Igniter cap. When the SMAWs fired, this is ejected out the back. Get some scrapings off the tree for Abby. Duck, what are you estimating on time of death? DUCKY: That's tricky, Jethro. Given the massive and rapid loss of blood, the body temp, lividity and rigor aren't any much use in establishing P-M-I. GIBBS: Yeah but? DUCKY: What makes you think there's a but? GIBBS: Well, with you there always is. DUCKY: Yes, that's right. Yeah well as they say in the high country markets of Sri Lanka, there's more than one way to skin a mongoose. Actually, there are three. GIBBS: Ducky... DUCKY: After death, the red blood cells in the eyes break down, forming potassium. Now this cloudiness is a byproduct of that. Yes, I'll be able to get an accurate determination when I test it in the lab. Best I can do for now - past twenty four hours. TONY: I got something. H-E-D-P. Residue should confirm. GIBBS: Take samples and measurements. TONY: Yep. KATE: Subtitles? TONY: The SMAW fires two types of warheads: H-E-D-P, high-explsive dual purpose, and H-E-A-A, high explsive, anti-armor. The D-P leaves a crater. A-A leaves a hole. KATE: Wow, you really do keep something besides comic books in your bathroom. TONY: Hard to believe, huh? KATE: Impressive. TONY: Thanks a lot. KATE: I was talking about the crater. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Note the signs of hematoma on the victim's face and upper torso. JIMMY: Signs of hematoma on the victim's face and upper torso. DUCKY: He was beaten before he was mrder. JIMMY: He was beaten before he was mrder. DUCKY: Well before JIMMY: Well before. (bat) It's bothering you? DUCKY: I was going to suggest you leave the recorder next to me, that way you don't have to repeat everything I say. JIMMY: Good plan, Doctor. DUCKY: Yes, note the variations in color of the bruises. These were inflicted on several different occasions within the past three to four weeks. Additionally, the bruising is not only uniform, but there are no indications of any points of acute trauma... (SFX: CELL PHONE CONTINUES RINGING) DUCKY: ...such as would have occurred from the contact of bare knuckles on unprotected skin. I believe further examination will reveal that our victim was a student of the "sweet science." JIMMY: Sweet science? DUCKY: A pugilist, if you will. JIMMY: He was a boxer? DUCKY: Precisely. Do you want to get that? JIMMY: Can I? (INTO PHONE) Mom? DUCKY: Oh, please! CUT TO: INT. SQUAD ROOM - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) TONY: McGee! Are you nuts!? MCGEE: What? TONY: You're at Gibbs' desk touching his computer. That's like touching.... the Ark of the Covenant!` MCGEE: Gibbs knows I'm doing this. TONY: He said you could use his computer? MCGEE: Uh-huh. TONY: Really? When mine fried he wouldn't let me touch his. GIBBS: Because your fingers are always greasy from fried chicken and pizza. How's it going? MCGEE: Bringing it online now, boss. TONY: What? MCGEE: Yearbook photos from every British university taken between eighty seven and ninety seven. TONY: Who said our trror1st was British? GIBBS: Ducky thought his syntax suggested a higher education in the British Isles. TONY: Well, maybe he just grew up watching tons of Cary Grant movies. Okay, why the decade between eighty seven and ninety seven? KATE: Because I estimated his age to be thirty three and added five years on either side for safety. TONY: Ah, you spend college summers working carnies as Madame Natasha? KATE: I've always been good at guessing ages. TONY: Yeah? How old am I? KATE: Based on chronology or maturity? TONY: Yeah, that's very funny. Come on. How old? KATE: Thirty two. TONY: You saw my file. KATE: Nope. TONY: Well how old is Gibbs? GIBBS: That's great work, McGee. MCGEE: Anytime, boss. TONY: Look at that. He gets a pat on the back, I get a smack on the head. KATE: Ah, it doesn't seem fair, does it? TONY: No. KATE: But it is. Fax from AFIS came in. Our victim is Staff Sergeant Thomas Grimm. He was an Armorer attached to the Ordnance Maintenance Center at Quantico. Responsible for wapon inventory and custody cards. GIBBS: Makes sense, given the way he died. KATE: And Ducky was right. He was a boxer. Top rated middle weight on the Quantico boxing team. CUT TO: INT. GYM - DAY WASHINGTON: Staff Sergeant Grimm was a hell of a fighter and a great Marine. Hands up, Marino! KATE: I saw Grimm's record. Very impressive. WASHINGTON: Seventeen and oh since he joined the Corps. Every last one was a battle. All right, if you two are going to dance, you join the Air Force! Now let's see some action in there!! TONY: Do you have a list of Grimm's opponents? WASHINGTON: You think his death had something to do with his boxing? TONY: Everything's on the table until we rule it out. WASHINGTON: I've got a list in my office. KATE: I'll wait here. (TONY WALKS O.S.) (KATE WALKS ACROSS THE GYM) KATE: Where'd you learn how to box? MCCLAIN: Five older brothers. KATE: Self-preservation. MCCLAIN: Are you here about Staff Sergeant Grimm? KATE: I am. Special Agent Todd. NCIS. You are? MCCLAIN: Corporal McClain. Any idea what happened? KATE: We're working on it. Did you know him? MCCLAIN: Mostly from seeing him around the gym. KATE: Good guy? MCCLAIN: From what I could tell. He was a good boxer. kller left hook. (MCCLAIN BOXES) MCCLAIN: Look, if it's okay with you, I've really got to... KATE: No problem. CUT TO: INT. NCIS LAB - DAY GIBBS: Looks like a serial number.(MUSIC PLAYS LOUDLY B.G.) ABBY: It's part of one. GIBBS: Good part? ABBY: You can't go straight for dessert, Gibbs. You have to eat your peas first. GIBBS: I hate peas. ABBY: The serial number indicates the manufacturer, the lot number and the year that it was built. You only have a partial, so we only have part of the picture. GIBBS: The good part? ABBY: It's ice cream time. The wapon that klled Staff Sergeant Grimm definitely came from the Armory at Quantico. CUT TO: INT. APARTMENT - DAY (DOOR OPENS/ CLOSES) TONY: Staff Sergeant Grimm could've used a little help from the boys on "qeer Eye." KATE: I doubt that rug would have made the cut. TONY: Actually, this was the only thing I kind of liked. KATE: I'll add that to the list of reasons I never want to see your apartment. (MUSIC OVER ACTION/TONY AND KATE LOOK THROUGH THE APARTMENT) TONY: Nothing in the bedroom. What's with the computer? KATE: No desktop. No operating system. TONY: Maybe it's busted. KATE: Or maybe somebody reformatted the hard drive. CUT TO: INT. NCIS LAB - NIGHT ABBY: We can rebuild it. We have the technology. Hello? Steve Austin? The Six Million Dollar Man? See, that's the problem with the world today. No respect for history. GIBBS: Can we just concentrate on the present? ABBY: Kate was right. The hard drive was completely reformatted. GIBBS: So we have nothing. ABBY: Actually, no. When you write data onto a hard drive, it's triggered electronically and magnetically onto a hard drive plate. TONY: What would that mean in something Kate would understand? ABBY: That even though the drive was reformatted, all the information it contained is still here. It's just a matter of "Humpty Dumptying" it. TONY: I thought they couldn't put Humpty Dumpty back together again. KATE: That's because the King only had horses and men. ABBY: I ran the data through the computer and was able to construct a virtual hard drive containing the information from Staff Sergeant Grimm's computer. GIBBS: You got everything back? ABBY: Since the day he bought it. GIBBS: Hey, let's start with the most recent stuff. ABBY: Okay, the last file Grimm edited was a JPEG. GIBBS: (bat) Whoa. A lot of firepower. It isn't exactly standard armory floor covering. TONY: It's not. That's Grimm's living room. (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - DAY KATE: I ran the LUDS on Staff Sergeant Grimm's phone. The day before he was klled, he placed seven calls to Abe's Pawn Ship. None of them lasting more than a minute. TONY: Setting up the meet? GIBBS: Could be. KATE: Pawn shop's local. LEOs said that the previous owner, an Abe Hargrove, is currently doing three to five at the F-C-I in Butner for interstate trffick. Daughter's running it now. GIBBS: Well, maybe the daughter is following in daddy's footsteps. TONY: Undercover time? GIBBS: For me. TONY: Not a good idea, boss. GIBBS: Yeah? Why is that, DiNozzo? TONY: You're thinking renegade enlisted bearing gifts straight from the source. GIBBS: Yeah, I was. TONY: We don't know the daughter's involvement with Grimm yet. Approaching her this soon as another Marine gone bad might make her suspicious. Which brings me, actually, to another option. GIBBS: Uh-huh. TONY: Complete and total sleaze. Pure pawnshop material. And let's face it, I'm a more believable scumbag than you. KATE: No argument here. TONY: Me, disheveled. You high and tight. Me flaky. You solid citizen. GIBBS: Yeah, I get the point. Have Abby do a full background and an I.D. TONY: Sure. GIBBS: What?! TONY: For you? GIBBS: For you, DiNozzo. For you. TONY: Yeah!! GIBBS: Kate, what'd you get from Staff Sergeant Grimm's C.O. at Quantico? KATE: Well, part of Staff Sergeant Grimm's job was to evaluate wapon. If they were beyond repair then he would transport them to a facility to be destroyed. But once they were out of Quantico, they were out of the system. GIBBS: Out of the Quantico system. They still have to be signed into wherever they were going. KATE: Well, these are Staff Sergeant Grimm's S.R.B and duty records. I'll go through everything. GIBBS: Yeah, you will. KATE: You know, Gibbs, I know that you're bothered that the trror1st got away. I am too. But ... but you might want to think about, you know, trying to be a little bit less of a Gloomy Gus. GIBBS: Gloomy Gus? TONY: (V.O.) I love Gus! CUT TO: INT. NCIS LAB - DAY TONY: It's very strong. What do you have to go with it? ABBY: Um... Louie? TONY: Gus Louie. It sort of sounds like a salad. ABBY: Yeah. How about um... Bricker. TONY: Gus Bricker. That's tough. Gibbs says put some military in the background. ABBY: Hmm... dishonorable discharge, of course. TONY: How about some time in Leavenworth? ABBY: What's the crime? TONY: Something that fits my persona. ABBY: How about violation of federal obscenity laws? TONY: That's funny. No, I meant my new, sleazy gn-running profile. ABBY: Drugs are always a safe bet. TONY: Yeah, drugs. ABBY: You got three to five for possession. Out on parole in two. TONY: There is no justice in this world, Abs. CUT TO: INT. NCIS SQUAD ROOM - DAY (MUSIC OVER ACTION/KATE SEARCHES THE REPORT) CUT TO: INT. PAWN SHOP - DAY (DOOR BUZZES OPEN) DILLON: Come on, lady! That's not fair. STONE: Life's not fair. DILLON: This sucks. STONE: Sucks. DILLON: All right, whatever. STONE: See ya. (DILLON WALKS O.S.) TONY: You drive a hard bargain. STONE: Not really. Stuff's probably not worth much more than I paid for it. TONY: Looking for Abe. STONE: Not here. TONY: When do you expect him back? STONE: Anywhere from three to five. TONY: Busted? STONE: Yep. Life's not fair. TONY: Damn. CUT TO: EXT. STREET - DAY STONE: (V.O./FILTERED) You a friend of my father's? TONY: (V.O./FILTERED) More like a business acquaintance. CUT TO: INT. PAWN SHOP - DAY STONE: Well maybe we can be business acquaintances. TONY: Thanks, but I've got other buyers. STONE: Whatever my father paid I'll better it. TONY: Now why would you do that? STONE: To prove to guys like you that I'm serious. TONY: Abe paid top dollar. STONE: Why don't you bring me what you've got and then we'll talk price. TONY: It's already here. CUT TO: EXT. STREET - DAY (MUSIC OVER ACTION/TONY AND STONE WALK FROM THE BUILDING) (SFX: CAMERA SHUTTER CLICKS) (VAN DOORS OPEN) TONY: Two cases of M-sixteens and a case of LAWs. STONE: Where'd you get this stuff? TONY: Do you want them or not? STONE: I might be interested. TONY: It's not everyday you get a chance to buy these kinds of wapon. CUT TO: INT. PAWN SHOP - DAY TONY: What's that? STONE: It's called scanning fingerprints. I need to know if you are who you say you are. TONY: Forget it. (SFX: DRAWER OPENS) STONE: Not an option. CUT TO: INT. NCIS LAB - DAY DUCKY: Abby, I'm surprised. I'd had you pegged for more the anarchist type. ABBY: Actually, I used to be an anarchist. DUCKY: What happened? ABBY: Too many rules. No, I'm just trying to help Tony narrow down possible buyers for Staff Sergeant Grimm's gn-R-Us operation. DUCKY: I'd have thought of gangs. ABBY: Well, you would have been right up to the point of shoulder-fired anti-tnk and aircraft wapon. DUCKY: It's overkill for even the local Crips set. ABBY: trrorists came to my mind first, but they wouldn't risk a U.S. Military connection. There's too many outsiders. These guys, however, are all about the military. DUCKY: Did you know that militias were once a legitimate and necessary source of defense for this country? ABBY: Well, according to these guys they still are. It's not like they have any new ideas, you know. It's all so... DUCKY: "The Song Remains The Same?" ABBY: Exactly. And bonus points for the gratuitous rock reference. CUT TO: INT. GYM - DAY (SFX: BOXING B.G.) KATE: She's got skills WASHINGTON: Yeah, she'd have a lot more if she'd just listen. KATE: What do you mean? WASHINGTON: Let's just say Corporal McClain likes to be the one giving the orders. KATE: Corporal McClain, I need to talk to you. MCCLAIN: I've got fifteen more minutes with the pads. KATE: It'll have to wait. MCCLAIN: What can I do for you? KATE: Tell me why you lied to me. MCCLAIN: I didn't. KATE: You gave me the impression that you barely knew Staff Sergeant Grimm. MCCLAIN: Look, I said what I said. You drew your own conclusions. KATE: You think this is a game, Corporal? MCCLAIN: No. KATE: Three days ago you and Grimm took a shipment of wapon from Quantico to be destroyed. MCCLAIN: That's right. KATE: Yeah, well one of those wapon didn't make it. I want to know what happened. MCCLAIN: I don't know. KATE: Is that your final answer? (bat) Turn around. MCCLAIN: Wait... wait. I don't know. Okay? Really. Can we just... KATE: You're on the log. You signed the shipment out at fourteen hundred hours on the sixth. MCCLAIN: I was there. I was... I wasn't. Grimm and I picked the wapon up at the armory, but he dropped me off as soon as we got off base. KATE: He dropped you off? MCCLAIN: My boyfriend is Army. Third division out of Fort Bragg. He was shipping out for Iraq the next day. Look, this was Grimm's idea. He said it didn't take two people to drive a truck. He told me he could handle it himself. CUT TO: INT. PAWN SHOP - DAY TONY: What about you? STONE: What about me? TONY: How do I know you're not a cop? STONE: You don't. But if I was, don't you think that's something you would have wanted to ask a while ago. Are you always this subtle when you're leering at women? TONY: Leering, by definition, isn't supposed to be subtle. CUT TO: INT. CAR - DAY STONE: (V.O./FILTERED) Do you always move this fast? TONY: (V.O./FILTERED) Only when there's nothing to slow me down. CUT TO: INT. PAWN SHOP - DAY (SFX: COMPUTER BEEP TONE) STONE: Oh. Gus Bricker. Born eight July, nineteen seventy two. Enlisted in the Marine Corps, nineteen ninety three. Dishonorable discharge. Three to five years in Leavenworth for possession of methamphetamine six months later. TONY: I have authority issues. STONE: Three to five for a first offense on possession? It seems a little steep. TONY: The Corps has higher standards. STONE: They took you. TONY: I like playing games with you. Just not this kind. So are we going to do this or what? STONE: I'll get your money. (MUSIC OVER ACTION/STONE OPENS THE SAFE) (INTERCUT SCENES OF GIBBS WALKING TO THE SHOP) TONY: NCIS. STONE: AF. (CUT TO BLACK) FADE IN: INT. PAWN SHOP - DAY GIBBS: Drop it. STONE: You drop it. GIBBS: You're outnumbered. STONE: I can still kll him. GIBBS: Go ahead. Easy. Search her. TONY: Boss. GIBBS: Got it. STONE: Very thorough, Special Agent...? TONY: Tony DiNozzo. Well, you can't be too careful, Special Agent...? STONE: Melinda Stone. I.D.'s under the stereo. TONY: You weren't seriously going to let her sh*t me, were you? GIBBS: Nah. TONY: You had a plan, right? GIBBS: Yeah. TONY: It's the real deal. GIBBS: Tell me about this op you're running. STONE: A-T-F knew they were moving a lot of illegal wapon. I figured we'd leave it open, see what crawled through. Put me in as Abe Hargrove's daughter. GIBBS: Where's your backup? STONE: You're looking at it. We're stretched as thin as everybody else since Nine Eleven. GIBBS: Tell me about Staff Sergeant Grimm. STONE: Who? TONY: Thomas Grimm. Armorer at Quantico. STONE: Never heard of him. TONY: He placed seven calls here two days ago. STONE: He said his name was Jeff Conklin. That he had access to high powered wapon. GIBBS: What were you going to do with them? STONE: Well, I was working with one of Abe Hargrove's former buyers. GIBBS: Who? STONE: No name. All I had was a phone number and a voice. Since your armorer sent me digital stills, I set up the buy. GIBBS: Did you ever see the wapon? STONE: Mm-mm. He never showed up. Guess he got cold feet. TONY: That's not exactly how it went down. Thanks to a SMAW, he's got cold everything now. CUT TO: EXT. TRAINING FIELD - DAY (SFX: MORTAR explsin CONTINUE B.G.) KATE: Staff Sergeant Rafael? Special Agent Todd, NCIS. CUT TO: EXT. DIRT ROAD - DAY RAFAEL: (V.O.) Once the request is approved from Division, all non-operative wapon are reported to (ON CAMERA) DEMIL center in Crane, Indiana, on a NAVMC ten forty eight. KATE: Then what? RAFAEL: Inventory is transferred here to Camp Geiger and stored, pending orders for destruction. KATE: Did you contact Indiana when you received the wapon? RAFAEL: Yes, Ma'am. It's procedure. KATE: Did you contact them when Staff Sergeant Grimm brought his inventory here? RAFAEL: Like I said, Ma'am, it's procedure. KATE: Yes, you did, Sergeant. But I'm asking specifically about the wapon Grimm signed out of Quantico three days ago. RAFAEL: Ma'am, I am a Staff Sergeant in the United States Marine Corps. I don't know how it is at NCIS, but I follow all orders and procedures laid out for me under this command. KATE: You still haven't answered my question. Did you inspect Staff Sergeant Grimm's manifest, sign for the wapon, and contact Indiana? RAFAEL: Yes. KATE: That wasn't so hard, was it, Staff Sergeant? RAFAEL: Will there be any more questions, Ma'am? KATE: No. Not here. I want to see you in Washington. I'll call your C.O. Find out what the procedures are. TONY: (V.O.) I like a girl with spunk. CUT TO: INT. SQUAD ROOM STONE: Is that right? TONY: First girl I ever kissed... kicked me right in the... STONE: Way above the shins? TONY: Painfully above. STONE: Hmm. I hope you learned your lesson. TONY: I did. Next time... I waited 'til after she swallowed her Gummy Bear. (STONE GIGGLES) GIBBS: DiNozzo! Agent Stone! You're working with us on this. Call your office for verification. Not now. We found evidence on Grimm's computer he was putting photos of his goods on the Internet, see what interest he could draw. STONE: You think my buyer found him first? GIBBS: I think it's a possibility. TONY: Cut out the middle man, save some dough. Only the dal went south somehow -- GIBBS: Yeah, well someone has still got enough firepower out to do some serious damage. DiNozzo, find us some wapon to sell. TONY: On it. GIBBS: Agent Stone, with me. TONY: (MOUTHS) Go! GIBBS: Call your buyer. Tell him you found a new supplier. STONE: If my boss verifies that we're working together. GIBBS: This time you'll bring your supplier. He'll think you're covering your ass. STONE: The buyer won't like it. GIBBS: No, he won't. But you're gonna give him a background that checks out. STONE: Will Agent DiNozzo be the supplier again? GIBBS: Well, unfortunately, it looks like DiNozzo doesn't fit the profile. He's more scumbag type. KATE: Gibbs. GIBBS: Special Agent Todd. Special Agent Stone. A-T-F. She'll be working with us on this. STONE: Possibly. GIBBS: Give me a minute. KATE: Two things. McGee checked out Corporal Patty McClain's alibi. Her boyfriend shipped to Iraq just like she said. When Grimm was klled, they were shacked up in a motel. GIBBS: Second thing? KATE: Staff Sergeant Raphael's holding out. I can feel it in my gut. GIBBS: Guts are good. KATE: He's having a little time-out in the interrogation room, so when you're ready I'll go over all my notes with you. GIBBS: Got to work up an I.D. with Abby. I'm afraid Staff Sergeant Raphael is all yours. KATE: You always do the interrogations, Gibbs. GIBBS: Not this one. CUT TO: INT. NCIS LAB - DAY (MUSIC PLAYS B.G.) GIBBS: Abs, I need an I.D. ABBY: There's a lot of that going around. Is this the A-T-F lady who's working with us? STONE: News travels fast around here. GIBBS: You have no idea. ABBY: sh*t. GIBBS: Arms dealer. Ex-military. ABBY: D.D.? GIBBS: Honorable discharge. Give me a medal. ABBY: Silver? GIBBS: Bronze. ABBY: Silver would be better. You're more of a winter. You never had your colors done, did you? GIBBS: Not unless I was unconscious. ABBY: Your colors are arranged seasonally based on your skin tone. You're a winter. Bronze is more of an autumn. It's important, Gibbs. GIBBS: I'm sure it is. ABBY: You scoff but there's scientific... GIBBS: (OVERLAP) Silver's will be fine, Abs. ABBY: Wise choice. Okay, your work history. GIBBS: Civilian contractor. Nicaragua, Nepal, Greece. ABBY: Kazakhstan - that would be a good addition. STONE: Another winter thing? ABBY: Don't be silly, A-T-F lady. GIBBS: Abs, leave a few gaps. Don't make it so neat. ABBY: Please, Gibbs. I've been making fake I.D.s since I was fifteen. What kind of name do you want? GIBBS: Anything but Gus. CUT TO: INT. INTERROGATION ROOM RAFAEL: Are we gonna do this, Ma'am? KATE: You were paired with Grimm at the Armorer's school in Aberdeen, is that right? RAFAEL: Four months training starting June, oh-two. Spent ten hours a day learning maintenance, repair and evaluation. KATE: Were you and Grimm close outside of school? RAFAEL: We had a few beers on the weekends.... along with other guys from our class. KATE: What about now? Few beers on the weekends? RAFAEL: No, Ma'am. KATE: Talk on the phone? RAFAEL: No, Ma'am. KATE: (INTO PHONE) I'm going to need the last three months of Staff Sergeant Raphael's phone records faxed over from Camp Geiger. Thanks. RAFAEL: We talk a little. It doesn't make me a criminal. KATE: What do you talk about? Sports? Girls? RAFAEL: Yeah. KATE: gn? RAFAEL: Sometimes we talk work. That involves wapon. KATE: We found Staff Sergeant Grimm's body yesterday. He'd been blown apart by a wapon - a SMAW. The serial number on the SMAW that klled him matches the inventory on his NAVMC ten forty eight, a copy of which you signed and sent to Crane. Now, how can this wapon be at Camp Geiger, but not be there. RAFAEL: Stuff gets misplaced once in a while. KATE: So you stand by what's on your report? RAFAEL: I have no reason not to. CUT TO: INT. LAB - DAY (MUSIC B.G.) GIBBS: Make your call. CUT TO: INT. SQUAD ROOM - DAY STONE: The buyer shows a group of abandoned factory buildings somewhere in the middle of nowhere. TONY: Smart. They'd spot backup anywhere close. STONE: Yeah. GIBBS: Our cell phones have G-P-S technology. They'll take them, sweep us for a signal, make sure we're not wired. STONE: So what's that? GIBBS: It's a locator. I won't activate it unless they move us. TONY: Very James Bond. Does it tell time, too? GIBBS: You can lay back and track us from a safe distance. CUT TO: EXT. INDUSTRIAL AREA - NIGHT (MUSIC OVER ACTION/CAR BRAKES TO A STOP) (SFX: PHONE RINGS) STONE: (INTO PHONE) Yeah?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) TONY: (INTO PHONE) Team's in place. STONE: (V.O./FILTERED) Good. TONY: (INTO PHONE) Tell Gibbs not to forget it's the first two M-P Fives on the left that have live clips. (SCENE CUT) STONE: (INTO PHONE) Tell him yourself. TONY: (V.O./FILTERED) I already told him four times. I think he's annoyed. (SCENE CUT) TONY: (INTO PHONE) It's his left when he's looking down at the crate with the barrels pointing... (SCENE CUT) STONE: (INTO PHONE) Away from him. He knows. TONY: (V.O./FILTERED) Well, yeah. Okay, just remind him that it's... (SCENE CUT) TONY: (INTO PHONE) ...the top layer of the amo cache that's live. Because the rest is-- (SCENE CUT) GIBBS: (INTO PHONE) Hey, DiNozzo! Get off the line. (SCENE CUT) TONY: (INTO PHONE) Oh, okay. Good luck, boss.(END TELEPHONE INTERCUTS) CUT TO: EXT. INDUSTRIAL AREA - NIGHT (SFX: LIGHTS CLICK ON) ASSISTANT: (V.O.) Hands! COOKE: (V.O.) Keep them up. Check 'em. MEMBER: He's clean. COOKE: You got my package? GIBBS: Yeah, they're right here. COOKE: Keys. STONE: Where's our money? COOKE: You'll get your money when we test the wapon. Let's go! Move. MEMBER: Cell phones in the bag. Wallet, jewelry and watches, too. GIBBS: Are we gonna get a receipt for this? MEMBER: Get in.(SFX: HUMMERS DRIVE O.S.) (MUSIC OUT) MUSIC IN: INT. HUMVEE - MOVING STONE: Are we gonna drive to Delaware to do this? GIBBS: Do you guys have a website? Nowadays militia groups have websites. All kinds of links to buy merchandise. You can buy coffee cups, sweatshirts, caps. It even has the Militia Babe Calendar. (SFX: GIBBS CHUCKLES) (SFX: TIRES SCREECH TO A STOP) COOKE: The only calendar we have is one that marks the days 'til the U.S. Government takes away our last Constitutional freedom. And when that day comes, and some Federal cop puts a Glock to your head 'cause he doesn't like your jokes, think about us. GIBBS: I'm thinking about you now. CUT TO: INT. INTERROGATION ROOM - NIGHT KATE: Here's what I think, Staff Sergeant. Your Marine buddy called you with a proposition too good to refuse. All you had to do was sign for wapon that were useless. They were going to be destroyed. Didn't seem like such a terrible thing to do, did it? You're going to do time. How much depends on a number of things including what kind of cooperation I tell the JAG prosecutors you gave me. (KATE TAKES OUT THE PHOTO) KATE: I wonder if this were you, how you'd appreciate another Marine not speaking up to get your kller? I'll be back to read your charges and your Article Thirty One rights. RAFAEL: I never thought anyone would get hurt. It was only going to be one time. We were never going to do it again. KATE: Grimm approached you? RAFAEL: We met at a bar and it seemed pretty foolproof. All I had to do was sign wapon in and make some cash. KATE: It was a good deal for both of you. RAFAEL: It was a good deal for all three of us. KATE: Three? CUT TO: INT. SQUAD ROOM - NIGHT KATE: McGee. MCGEE: Kate, I realized it. I'd overlooked something in the search program. Late transfers to the school systems aren't always-- KATE: Tell me how you checked Corporal McClain's alibi. MCGEE: I called Army C-I-D to verify her boyfriend was shipped out to Iraq. KATE: The motel part. MCGEE: Oh, uh... Corporal McClain says she spent the night of Staff Sergeant Grimm's death at the Two Moon Motel on U.S. One with her boyfriend. KATE: You went? MCGEE: Well, I called. That wasn't right? I should have gone in person. KATE: McGee, can you put your insecurities on hold for just a few seconds. MCGEE: I can. KATE: What did the clerk say? MCGEE: Corporal Thomas McKenzie signed for a room at nineteen hundred with a woman who matched Corporal McClain's description. KATE: You faxed him a photo? MCGEE: Well, I hadn't received it from Quantico yet. KATE: When you did receive it? MCGEE: I guess I got a little involved with this. (KATE RUSHES FROM THE ROOM) CUT TO: INT. ABANDONED CLOTHING MILL - NIGHT COOKE: Get out! (SFX: CAR DOOR CLOSES) STONE: What do you say we try not to push his buttons this time? GIBBS: I'll do my best. CUT TO: INT. SQUAD ROOM - NIGHT KATE: (INTO PHONE) Thank you. (TO MCGEE) The hotel clerk said that the fax photo of Corporal McClain is not the woman that Army Corporal McKenzie checked in with. MCGEE: No, that was Corporal McKenzie on the SAT phone in Iraq. They broke up a month ago. KATE: Let's go. MCGEE: Will... will Gibbs have to know about this? KATE: McGee, I can't think about your ass right now. MCGEE: I... understand. What about DiNozzo? (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN/KATE TURNS AWAY MCGEE: (softly)Right. CUT TO: INT. CLOTHING MILL - NIGHT COOKE: I could get one of these at Wal-Mart. GIBBS: If you don't want them, fine. Take us back. COOKE: I didn't say that. M-P Five is a good wapon. But these are the single fre model. I was told they'd be full auto. GIBBS: They are. The trigger grips have been replaced with the military variant. Why do you think you're getting such a good price on them? I could demonstrate. COOKE: We'll handle that. GIBBS: Suit yourself. (SFX: RAPID gn) COOKE: Three fifty per unit. STONE: Five. COOKE: Five's too rich. STONE: I'm paying him three seventy five. COOKE: Pay him less. STONE: Four fifty. COOKE: The art of compromise. My M-sixties in there? GIBBS: Echo Threes. COOKE: They don't make a single sht version of this. Price? STONE: Grand per. COOKE: Good price. What if I wanted something heavier? GIBBS: How heavy are you talking about? COOKE: Armor piercing amo, heavy caliber gn, rockets. GIBBS: Let me see what I can do. COOKE: Let's take this for a little test drive then we'll do our deal. GIBBS: I didn't bring any amo. COOKE: Not a problem. We did. You'd be surprised how much we have in common with the Boy Scouts. (SFX: MUNITION CLICKS B.G.) COOKE: Get me another one. MEMBER: Yes, Sir. (SFX: MUNITION CLICKS B.G.) COOKE: No fring pins. (SHOUTS) No fring pins! GIBBS: Look, I know you're pissed, okay? I'm pissed too! Wait! My supplier ripped me off! COOKE: You didn't know? GIBBS: No, I did not know. Just pay me for the M-P Fives and let's call it a night. Considering the circumstances, let's lower the price. Fifty dollars a unit, all right? COOKE: How about free? (SFX: gn) (GIBBS FALLS TO THE GROUND) ROBERTS: You tried to screw me. STONE: No. No. He did. I can get you the wapon you need. COOKE: I want them now. (SFX: TELEPHONE BEEP TONES) STONE: (INTO PHONE) I have a buyer. But we have to do it tonight. CUT TO: EXT. CONTAINERS - NIGHT (SFX: CAR BRAKES TO A STOP) (CONTAINER DOORS OPEN) KATE: I'll bet it was a lot easier when Staff Sergeant Grimm was helping. They say when you're about to die, your life flashes before you. Is it the same when you're being arrested for mrder, Corporal? MCCLAIN: What mrder? KATE: Cuff her, McGee. MUSICAL BRIDGE TO: INT. WAREHOUSE - NIGHT STONE: They'll be here. COOKE: I hope so, for your sake. (SFX: PHONE RINGS) COOKE: (INTO PHONE) Yeah. Great. (TO GIBBS) Time for NCIS to stop lying down on the job. (GIBBS STANDS) GIBBS: I learned everything I know from A-T-F. COOKE: Special Agent Todd just informed me Corporal Patty McClain and the wapon are in custody. AGENT: (V.O.) Okay, cuff her. TONY: Agent Stone. STONE: Agent Dinozzo. I didn't see this coming. GIBBS: That was kind of the plan. COOKE: We've been watching you since your last op. Too many things didn't add up. TONY: You klled Staff Sergeant Grimm, didn't you? STONE: No. Corporal McClain did. They got in an argument over his cut and she blew him away. GIBBS: What do you want to bet she's going to say the same thing? STONE: It doesn't really matter. I'm screwed either way. CUT TO: INT. SQUAD ROOM - DAY TONY: I really liked her. KATE: (READS) A-T-F Agent involved in illegal wapon and mrder, what's not to like? TONY: So quick to judge, Kate. Sure she has flaws. Sure she's going to prison. But my instincts told me she had good qualities as well. KATE: Two of them wouldn't happen to live under her shirt, would they? TONY: You're not going to believe this, but when it comes to women, I actually look for more... complex things under the surface. KATE: Really? TONY: Really. KATE: Like when you were tonguing that he/she a week ago. Lots of complex things under that surface. TONY: I gotta go. (TONY WALKS O.S.) GIBBS: What's wrong with DiNozzo? KATE: He's conflicted. (CUT TO BLACK) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x21 - Split Decision"}	foreverdreaming
MUSIC IN: EXT. MOUNTAIN - NIGHT (SFX: HELICOPTER B.G.) (MUSIC OVER ACTION/ SEALS RAPPEL FROM HELICOPTER ONTO THE CLIFF) (PREPARE TO RAPPEL) JOHNSON: This way. (FILTERED) (PAUSE) Team One, go! (MUSIC OVER ACTION/SEALS RAPPEL) PORCARO: Lieutenant, planning on joining us? JOHNSON: I'm on my way. (MUSIC OVER ACTION/ JOHNSON RAPPELS OFF THE CLIFF) (SFX: JOHNSON SCREAMS/FALLS TO THE GROUND) (CUT TO BLACK) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY TONY: Hey. "A WEAK LINK" KATE: Good morning. TONY: How was your weekend? KATE: Uh, let's see. I paid bills, did laundry, went shopping, vacuumed. I bet you don't even own a vacuum. TONY: I lease. KATE: Okay, so what did you do this weekend that left that smile plastered all over your face? TONY: I watched a great movie. KATE: Let me guess, a horror flick? TONY: Halloween Eight. I think it's the best Halloween ever. It makes Halloween Seven look like Halloween Five. KATE: I can't even believe they made one of them, much less eight. It's gotta be a "Men are from Mars" thing. TONY: Arianna liked it. KATE: Arianna? I thought you broke up with her. TONY: What makes you think that? KATE: Oh, I don't know. Maybe because you came in the other day and said, "I broke up with Arianna." TONY: Oh, you don't know much about dating, do you? KATE: Oh, why don't you enlighten me. TONY: Well, there's always one phony breakup that precedes the real breakup. Everyone knows that. GIBBS: (INTO PHONE) Yeah, got it. Thanks. (HANGS UP PHONE) GIBBS: Grab your gear. Kate, get Ducky. Tony, gas the truck. KATE: Where are we going? TONY: With Gibbs, you never know. CUT TO: EXT. BASE OF CLIFF - DAY M P: I.D. (INTO RADIO) NCIS Special Agent Gibbs.(OPENING CREDITS CONTINUE) VOICE ON RADIO: (FILTERED) Clear. M P: (INTO RADIO) Okay. (TO GIBBS) Thank you, Sir. RAINER: Agent Gibbs? Commander Rainer. SEAL Team Eight. GIBBS: What happened here? RAINER: We were on a training exercise. Lieutenant Johnson, the Team leader, was rappelling down the cliff when his D-link snapped. GIBBS: Did you secure the top of the cliff? RAINER: I did. GIBBS: Is that the rest of the Lieutenant Johnson's squad? RAINER: Yes, Sir. GIBBS: I'd appreciate it if you tell them not to talk to anyone until I talk to them. RAINER: Already taken care of, Sir. KATE: Oh, what an awful way to die. TONY: I can think of worse ways to go. KATE: Like what? TONY: Well, getting eaten by a shark. Being buried alive. Falling into a wood chipper. KATE: You've given this some thought. TONY: Well, yeah. So? KATE: Nothing. DUCKY: Someone moved the body. RAINER: After he fell, his squad members came to his assistance to see if anything could be done. Unfortunately he died on impact. DUCKY: Well, that would account for a few inches. But someone's moved him further than that. RAINER: We pulled him away from the face of the cliff because there was falling shale. It's an old mine. We were careful not to disturb anything. GIBBS: Was emptying his pockets part of the first aid effort? RAINER: The Intel was classified. We removed it so the body could be transported. That's S-O-P under these circumstances. GIBBS: DiNozzo. TONY: Yeah, boss? GIBBS: Top of the cliff. sh*t and sketch. TONY: Gee, boss. It's a long way up. GIBBS: DiNozzo, was there something in my tone of voice that made that sound like a suggestion? TONY: On it! (TONY WALKS O.S.) RAINER: Agent Gibbs, I realize that you have an investigation to perform. From what we can see that's pretty obvious that D-link had a catastrophic failure. GIBBS: You're right, Commander. We have an investigation to perform. What do you got there? DUCKY: Unfortunately for Lieutenant Johnson, it appears to be just what it looks like. GIBBS: Well, that eliminates the guess work. KATE: Is this a common occurrence, one of these breaking? GIBBS: I've never seen it happen before. It doesn't mean it couldn't. (SFX: ROCKS FALL FROM THE CLIFF) DUCKY: I think I can move him. KATE: Gibbs, I got something. Is that a piece of the D-link? GIBBS: Sure looks like it. DUCKY: Don't worry, my friend. We'll get you cleaned up and presentable in a way that honors your service. GIBBS: Special Agent Gibbs. Special Agent Todd. I understand you were on a training exercise. ALL: Yes, Sir. GIBBS: What was your mission? PORCARO: You'll have to talk to the Commander about that, Sir. GIBBS: Other than Lieutenant Johnson's accident, anything out of the ordinary happen? PORCARO: No, Sir. It was textbook. We were inserted by helicopter, secured our lines, rappelled down the face of the cliff. GIBBS: What was the order? PORCARO: Vengal and Kenney went first, then myself and Binkowski... VENGAL: We can't believe this happened to the Lieutenant. KATE: After the four of you began repelling down, was anyone on top of the cliff other than Lieutenant Johnson? ALL: No, Ma'am. GIBBS: Each of you will need to provide a statement detailing what you saw. ALL: Yes, Sir. GIBBS: I'd like Lieutenant Johnson's service record and the personal effects from his locker. RAINER: I'll have it in your office as soon as possible. CUT TO: INT. NCIS LAB - DAY ABBY: (V.O.) There is no signs of tampering. GIBBS: That's it? ABBY: That's it. GIBBS: Then we can put this to bed? ABBY: Not yet. I emailed the manufacturer for the specs on this particular D-link. When I get them back, I can do a comparative analysis and if nothing's hinky, then we can put this to bed. GIBBS: Thanks, Ab. KATE: Are you okay? ABBY: I'm fine, why? KATE: You're not your normal, effervescent, cheerful Abby. ABBY: That's because she's been replaced by the abnormal, dull, and melancholy Abby. KATE: Something you want to talk about? ABBY: I don't want to bore you. KATE: Who else are you gonna tell - Tony? ABBY: McGee is all mad at me. KATE: Why? What happened? ABBY: We went to Buzzed. It's a coffee house in Old Town. Sunday night's like a poetry night. KATE: I didn't know you liked poetry. ABBY: McGee likes it. So we're popping back double espressos and all of a sudden out of the blue, he says, "I really really like you." KATE: What'd you say? ABBY: Thanks. What was I supposed to say? KATE: I don't know. ABBY: Oh. Then he gets like all quiet and we're leaving and he wants to know where our relationship is going. KATE: Oh, I hate that. Why do guys have to push the issue? ABBY: Because they're insecure. KATE: What'd you say? ABBY: Well, I said why does it have to go anywhere? Why can't we just enjoy what's happening now? KATE: What'd he say? ABBY: Fine, whatever. KATE: Oh, typical passive aggressive. ABBY: I know! I mean, what's next? Should I be watching "Sleepless in Seattle" on rainy Sunday afternoons? Ah! KATE: What are you going to do? ABBY: I'm not going to do anything. I'm going to pretend like it never happened and hopefully he's going to do the same. DUCKY: (V.O.) The official cause of... CUT TO: INT. AUTOPSY ROOM DUCKY: ...death was multiple traumatic injury. He was in horrible shape, Jethro... lower leg fractures, hip fractures, severe skull fractures. I could go on and on GIBBS: No. No need, Duck. TONY: Have you sent the blood up to Abby for a full tox screen? (bat) Well, that's what you were going to ask, right? DUCKY: The lifetime odds of dying from a fall like this are roughly the equivalent of the odds of dying from a collision with an asteroid. GIBBS: And? DUCKY: What kind of person would I be if I had this knowledge and I didn't share it with you? TONY: That's what you were gonna ask that, right? About the tox screen? (PALMER ENTERS) DUCKY: You are late -- PALMER: I am so sorry, Doctor Mallard. I am so so sorry. DUCKY: Although I may have second thoughts, Mister Palmer. PALMER: Second thoughts, Sir? DUCKY: About you coming to work full time as my assistant. PALMER: It will never happen again, Doctor! I promise you it was an extremely unusual situation. DUCKY: They always are. PALMER: You see, I was in the shower and the doorbell rang but I didn't know it at the time. DUCKY: That you were in the shower? PALMER: No, that it was the doorbell. See, my head cold in combination with my tinnitus made me think that it was the kitchen timer. DUCKY: How very unusual. PALMER: Yes, so I spent several minutes trying to find out what it was I had finished cooking. And by then the time I realized it was the front door, I'd almost forgotten I'd taken a shower. (PALMER COUGHS) PALMER: It'll never happen again. DUCKY: Who was there? PALMER: Where? DUCKY: At the door? PALMER: Oh, I didn't answer it. DUCKY: I hope this won't become a habit, Mister Palmer. PALMER: No, see I always answer my door. DUCKY: I was referring to being late. PALMER: Does this mean I have the job? CUT TO: INT. NCIS LAB - DAY (MUSIC OVER ACTION/ABBY PERFORMS LABORATORY TESTS) (PASSAGE OF TIME) GIBBS: Any prints beside Lieutenant Johnson's? ABBY: I got a partial that isn't his. GIBBS: Run it through AFIS and any other data base you can think of. ABBY: Done and done. GIBBS: What else do you got for me, Abs? ABBY: The D-link is electrolytically coated with a protective oxide. I used Fourier Transform Infrared Spectrophotometry to compare the chemistry between the factory specs and the link that failed. GIBBS: Is all this necessary? ABBY: If I just came right out and told you what I'd found, you would be bored. GIBBS: What'd you find? ABBY: The chemical composition of the oxide isn't the same. GIBBS: Couldn't that just be from two different production batches? ABBY: Possibly. GIBBS: I'm sensing a but. ABBY: You are correct, oh great one. I used a scanning electron microscope with an x-ray diffractive attachment and did a composition analysis. The one on the left is the D-link I got from the manufacturer. The one on the right is Lieutenant Johnson's. TONY: They're not the same. ABBY: That's because one is steel and the other is sixty six three T six aluminum. TONY: So the manufacturer makes the D-link in both metals? ABBY: Actually, they don't. TONY: Then how do you explain that? ABBY: Easy. Someone handmade a D-link out of a much weaker metal and then swapped it with Lieutenant Johnson's real one. GIBBS: It wasn't an accident. ABBY: Nope. Looks like mrder. (FADE TO BLACK) MUSIC IN: INT. LIVING ROOM - DAY GIBBS: (V.O.) I know this is a difficult time. KATE: (V.O.) When your husband brought his gear home, where did he keep it? DENISE: Usually in the garage. Sometimes he'd leave it in the car. GIBBS: Did he ever bring it in the house? DENISE: Why? GIBBS: Someone may have tampered with his equipment. DENISE: Tampered? Why would anybody do that? (DOOR BELL RINGS) (DOOR OPENS) DENISE: I keep expecting him to walk through that door. EDNA: I am so sorry. (SFX: DENISE CRIES LOUDLY) GIBBS: Take a look around, Kate. Tony, let's check out the garage. CUT TO: INT. GARAGE - DAY (SFX: GARAGE DOOR ROLLS OPEN) TONY: Whoa! GIBBS: Nice car. TONY: Oh, it's not just a car, boss. This is a sixty-six Mustang. Revolutionary in its day. GIBBS: You're not going to start giving me all the vital stats on this car, are you? TONY: Thunderball. GIBBS: Let me rephrase that, DiNozzo. You're not going to give me the vital stats on this car. TONY: If someone was going to break in to get at his gear, their choices were limited. Garage door or the back door. Lock works. No sign of forced entry. Whoever switched his D-link, I don't think it was done here. (DOOR CLOSES) GIBBS: Yeah. Yeah. It does seem that way. CUT TO: INT. LIVING ROOM - DAY (MUSIC OVER ACTION/KATE LOOKS AROUND THE HOUSE) (KATE BUMPS INTO LARRY) KATE: Oh. LARRY: I'm sorry. KATE: My fault. LARRY: Hi. Um... Larry Clannon. KATE: Kate Todd. LARRY: I thought I knew most of Rick's friends. I... KATE: Actually, I'm with NCIS. We're investigating his death. LARRY: I thought it was an accident. KATE: We still need to investigate. LARRY: Oh. Right. KATE: How do you know Rick? LARRY: Oh, we've been friends for um... we were friends since high school. We played football together, got in trouble together. We uh... I can't imagine life without him. EDNA: Hello, Father. LARRY: Hi, Edna. I'm a priest at Saint Matthews. KATE: Why no collar? LARRY: I was out running errands and I got the call. I just came right over. Rick was my best friend. He's the reason I became a priest. KATE: How so? LARRY: Well, when I was nineteen, I was in a motorcycle accident. KATE: A priest with a motorcycle. Sounds like a TV show. LARRY: Right. Well, I ended up in a coma. Rick would come sit with me after school. Sometimes he would just talk to me and other times he would pray. The doctor said that if I came out of it I would end up in a vegetative state, but... KATE: It was a miracle. LARRY: Not according to Rick. Rick said it was because he had juice with the man upstairs. You should come by church sometime. I get a cash bonus for every person past a certain number. KATE: You do? LARRY: Wow. KATE: I'm sorry. I'm not used to a priest with a sense of humor. LARRY: Right. Well, the times they are a changing. KATE: They certainly are. CUT TO: INT. HANGAR - DAY GIBBS: Who had access to your climbing gear? RAINER: That depends. Lines and harnesses are usually kept in a rope locker. TONY: What about D-links? RAINER: Not a controlled item. Most of my men take their personal gear like that home with them. KATE: Anyone in the unit could have had access to Johnson's? RAINER: I suppose so. GIBBS: How many men in your unit, Commander? RAINER: That information is classified, Agent Gibbs. VOICE: Commander Rainer. RAINER: I'll be right back. (RAINER WALKS TO THE CONTAINER) GIBBS: There's enough amo here to take over a small country. TONY: How small? RAINER: Open it up. (DOOR SLIDES OPEN) RAINER: I appreciate that you have a job to do, but as far as we're concerned, this was a training accident. GIBBS: What if I was to tell you it wasn't. RAINER: I was there, Agent Gibbs. I saw Johnson's D-link. GIBBS: It was broken. What you saw was a fake. KATE: Someone substituted Lieutenant Johnson's D-link with one made from inferior metal. TONY: Metal that was designed to fail. RAINER: Sergeant? SERGEANT: (V.O.) Sir. RAINER: Security badges. SERGEANT: (V.O.) Sir. CUT TO: INT. HANGAR - DAY RAINER: Anything you see or hear is considered classified at the highest level. I'll assist you in any way I can, as long as it doesn't compromise our primary mission. GIBBS: Which you can't tell us. RAINER: I will tell you it's absolutely vital to national security. KATE: Not much help in a mrder investigation. RAINER: Well, that's the best I can do. I've got a backup team waiting. But if there's someone deliberately trying to sabotage this mission, I need to know. (TO FOLSOM) Get Admiral Barnes on the secure line. Tell him Task Force X-Ray may have been compromised. FOLSOM: Yes, Sir. GIBBS: Who else knew Johnson was going to be rappelling last night? RAINER: No one outside this unit. My men have been in total isolation for the past ten days. No contact with the outside world. KATE: Any security breaches? RAINER: One Petty Officer made a few unauthorized calls to his wife. TONY: He was in Johnson's squad? RAINER: He was. Petty Officer Vengal. Lieutenant Johnson counseled him on following orders. GIBBS: What kind of a sailor is Vengal? RAINER: Young, headstrong. Likes to be the center of attention. GIBBS: Basically a SEAL. RAINER: Johnson rode him pretty hard, but that was his job. GIBBS: I'll need to talk to him as well as anyone else on Johnson's team. RAINER: Not a problem. They're no longer the primary team on the mission. GIBBS: What's our time frame here? RAINER: We're inside a thirty eight hour window. If you don't find out what happened by then, we scrub the mission. CUT TO: INT. MAIN FLOOR HANGAR - DAY GIBBS: Tony, get with whoever's in charge of the climbing gear. I want every rope, D-link and harness checked. TONY: You got it, boss. FOLSOM: I'll escort Agent DiNozzo. Bravo Team's bunked in here. CUT TO: INT. BRAVO TEAM QUARTERS GIBBS: How'd you get along with your Lieutenant, Petty Officer Vengal? VENGAL: He was a good SEAL, Sir. KATE: But you didn't like him. VENGAL: We had different styles, Ma'am. GIBBS: His style was to ride your ass. VENGAL: Yes, Sir. GIBBS: Why did you breach security? VENGAL: Excuse me, Sir? KATE: You called your wife. Why? VENGAL: She's pregnant. I ... I wanted to check up on her, Ma'am. GIBBS: I checked your service record. Lieutenant Johnson wrote you up for an unauthorized absence two weeks ago. VENGAL: I had to take my wife to the doctor. Why are you asking me about the Lieutenant? GIBBS: Because we're looking for the man who mrder him. CUT TO: INT. HANGAR - DAY (TELEPHONE BEEPS KATE: Lieutenant Johnson's last two calls were made while in isolation. Both were to Father Clannon. GIBBS: The Lieutenant writes up Vengal for calling his pregnant wife during lockdown then makes two calls himself? It doesn't make sense. KRAMER: Agent Gibbs? Eddie Kramer, CIA. Is there someplace we can talk? GIBBS: Yeah. How about right here? Whatever you say to me, you can say to my team. KRAMER: Okay. Your investigation into Lieutenant Johnson's death is very important to us. GIBBS: Yeah? Why's that? KRAMER: Well, the SEALs are part of a multi-agency task force that's been training for a very specific mission. GIBBS: Which you're not going to tell me about. KRAMER: You'd have to be read into the program and we don't have the time. KATE: And you think that someone inside this task force tampered with Johnson's equipment? KRAMER: I'm very concerned. There's an initial vetting process for SEALs. And for this mission they were further vetted by the CIA. TONY: If they've gone through all that... KRAMER: Then we're dealing with someone who's very clever. In thirty-four hours, a C one forty one will be fueled and ready to go. We need to know who swapped that D-link out and why. Otherwise, four months of planning will go out the window. I'll tell you everything that we know, I want you to do the same. GIBBS: Sure. Sounds good to me KRAMER: I'll give you this. GIBBS: Abs, what's up? ABBY: Something very unexpected. GIBBS: He's okay. ABBY: I ran the print off Johnson's D-link through the military database. No match. GIBBS: Yeah? What's the unexpected part? ABBY: When I ran it through the criminal database, I got a ht. GIBBS: Anyone we know? ABBY: Absolutely. Lieutenant Johnson's wife. (MUSIC UP AND OUT) MUSIC IN: EXT. JOHNSON HOUSE - DAY (SFX: CAR BRAKES TO A STOP) (CAR DOORS OPEN/CLOSE) KATE: She was eighteen when she was arrested for joyriding. TONY: Joyriding. It sounds so much better than grand theft auto. There's something almost spiritual about it. KATE: Well, she said she didn't know the car was stolen. Her boyfriend said he borrowed it from a friend. TONY: Oh, the old blame-it-on-the-boyfriend excuse. One of the classics. KATE: Well, that's usually who is to blame. GIBBS: Anything else? KATE: I was saving the best for last. GIBBS: Why? KATE: Denise Johnson works at a jewelry store. She makes custom metal jewelry. Oh, and yesterday when I was in the den I saw something that made it seem like Johnson may have been sleeping in there. GIBBS: What kind of things? KATE: Alarm clock, pillow, blanket. TONY: Something's really been bothering me. What kind of sick and twisted logic makes you think the boyfriend is always to blame? Huh? (DOOR OPENS) GIBBS: Can we just have a minute? CUT TO: INT. LIVING ROOM - DAY DENISE: Of course my fingerprints are on there. You can find my fingerprints on almost anything Rick owned, except maybe his hunting rfles. KATE: We had to ask. DENISE: You're not married, are you, Agent Todd? KATE: (bat) No. DENISE: Well, a lot of husbands leave a trail when they come home. I was constantly picking up after him. GIBBS: How was your relationship with your husband? DENISE: It was fine. TONY: He wasn't sleeping in the den? DENISE: We had our problems, like any married couple. GIBBS: What were they? DENISE: None of your business. KATE: I'm sorry if we upset you. DENISE: What were you expecting? You come into my home and basically accuse me of having something to do with my husband's death. KATE: We're just trying to tie up any loose ends. Your fingerprints were on the D-link, we came, we're not accusing you of anything. GIBBS: Did your husband have a computer? DENISE: We have a laptop. CUT TO: EXT. JOHNSON HOUSE - DAY KATE: Her explanation made sense. GIBBS: Doesn't mean she isn't guilty. KATE: Do you honestly think she had anything to do with it? GIBBS: I've seen a single mother drown her children because her new boyfriend didn't like them. Nothing surprises me. TONY: Interesting how she pegged you for unmarried. (SFX: CAR STARTS) MUSICAL BRIDGE TO: INT. NCIS SQUAD ROOM - DAY TONY: Here's a page thirteen Lieutenant Johnson wrote after Petty Officer Vengal got into a fight in town. He said he didn't start the fight, he was just protecting himself. KATE: It's not in Vengal's service report. TONY: There's more. This is from an undated Fitness Report. Under comments, Lieutenant Johnson wrote: "Though Petty Officer Vengal is an outstanding sailor and no doubt will make a fine Petty Officer First Class, at this point I think he needs a little seasoning and I am not recommending him for promotion." KATE: Also not in his service report. TONY: So how can that be? GIBBS: Rainer said Johnson rode Vengal pretty hard. My guess is that was part of his carrot and stick approach. He wrote the page thirteen, showed it to Vengal. KATE: And never formally filed it. TONY: So if the guy cleaned up his act, then Johnson would just toss the page thirteen like it never existed. KATE: Okay, why did Johnson include the counseling sheet he wrote when Vengal was late? TONY: That's just a slap on the wrist. Page thirteen is serious. GIBBS: Anything else? TONY: Nope. They paid the bills, sent e-mails to friends, normal stuff. (KATE SPEAKS ON THE PHONE B.G.) KATE: (INTO PHONE) Thank you very much, Doctor. TONY: (LONG bat) You seem bothered. KATE: That was Mrs. Vengal's doctor. Petty Officer Vengal did take her to see him, but not on the day that he told Lieutenant Johnson he did. He lied. GIBBS: Get Vengal in here. TONY: Eee, boss. I'm not sure those guys are going to let him go anywhere. GIBBS: (OVERLAP) Convince them, Tony. TONY: Okay. ABBY: I was down in the evidence locker looking for a fingerprint kit and this started vibrating. Freaked me out. GIBBS: Thanks, Abs. KATE: Thanks, Abs. (KATE OPENS THE PLASTIC BAG AND TAKES OUT THE PHONE) KATE: Lieutenant Johnson got a text message. (READS) Why weren't you there? GIBBS: Who sent it? KATE: This is weird. It's an e-mail message forwarded from an internet account that shows up as a text message on his cell phone. GIBBS: English, Kate. KATE: Okay, I can set up my internet account so that if somebody e-mails me on my computer and I'm not there, the e-mail will automatically be forwarded to my cell phone. GIBBS: What's the weird part? KATE: Well, the e-mail account that this was forwarded from is Dave Smith at concealmail dot com. That's not Johnson's e-mail address. GIBBS: You sure? KATE: Let me rephrase that. It's not Lieutenant Johnson's email account on his home computer, but he could have opened an account on another computer. GIBBS: Under an assumed name. KATE: Anybody can. But why would somebody with a top security clearance have an email account under an assumed name? GIBBS: What if I wanted to get into that account? KATE: Get a search warrant for the servers. GIBBS: We don't have time for a warrant. What's a quicker way? KATE: Hack into the servers. (bat) I can't believe I just said that. I would have never suggested that before I started working here. GIBBS: You're welcome. Get McGee over here. Have him work with Abby. Tell him to do whatever it takes to get that information. KATE: I... are you sure we need to do that? GIBBS: Do you have a problem with McGee? KATE: Not me. GIBBS: Well then tell him to get his butt over here! When you're done with that, we're going to pay a visit to Father Clannon. CUT TO: INT. CHURCH - DAY (DOOR OPENS/ CLOSES) CLANNON: I guess I was more persuasive than I thought. KATE: Actually, I'm here in an official capacity, not to go to confession. CLANNON: Well, you can always kll two birds with one stone. I'm hearing them in fifteen minutes. KATE: You should be in sales. CLANNON: I am. KATE: This is Special Agent Gibbs. CLANNON: I think I saw you at Denise's house. GIBBS: Yeah. CLANNON: Welcome to Saint Matthews. GIBBS: Thank you. Do you mind if we ask a few questions about Lieutenant Johnson? CLANNON: No, please. Go right ahead. GIBBS: His death wasn't an accident. Someone switched a piece of his equipment with an inferior version. KATE: That's what broke when he was repelling down the cliff. GIBBS: Did Lieutenant Johnson ever tell you anything that might be able to help us? CLANNON: Rick and I talked about many things. As a priest I can't break the seal of confession. GIBBS: So he confessed something you can't talk about? CLANNON: No, I didn't... I didn't say that. GIBBS: Okay. Okay. What about the two phone calls he made to you just before he died? CLANNON: Were you in the service, Agent Gibbs? GIBBS: Marines. CLANNON: Semer fidelis. Always faithful. That was your motto, your code? GIBBS: Yes, it is. CLANNON: And did you ever have circumstances that allowed you to turn your back on that code? KATE: I guess there's no way we could phrase the question to allow you to answer it? CLANNON: No, there's not. Are you sure you won't stick around? KATE: Maybe next time. CLANNON: Very good.(MUSIC OVER ACTION/GIBBS LIGHTS A CANDLE) KATE: Who was that for? CUT TO: INT. NCIS LAB - DAY INT. NCIS LAB - DAY MCGEE: Abby? ABBY: McGee? MCGEE: Gibbs said you need my help. ABBY: I don't need your help. He just asked you to help me. MCGEE: Okay, what am I helping you do? ABBY: Hack into ISP servers. We have to get into an e-mail account and download the activity. MCGEE: What are we looking for? ABBY: Just anything that's hinky. MCGEE: Why do you use that word? ABBY: What word? MCGEE: Hinky. It's a made up word. ABBY: All words are made up words. MCGEE: Well I think it's stupid. ABBY: Well maybe I shouldn't say anything then. MCGEE: Fine. ABBY: Fine. MCGEE: Good. ABBY: Great. (MUSIC OVER ACTION/ABBY AND MCGEE WORK ON THEIR LAPTOPS) CUT TO: INT. OBSERVATION ROOM - DAY (DOOR OPENS/ CLOSES) KRAMER: Is there any reason why you couldn't do this at Little Creek? GIBBS: Evidence pertinent to the investigation is all here. KRAMER: Okay. GIBBS: Okay. KRAMER: Oh, turn that off. We're not taping this. TONY: Go ahead. Shut it down. CUT TO: INT. INTERROGATION ROOM GIBBS: Your future in the Navy is clear. You don't have one. The question is, do you have any future at all? (FILTERED) You don't have anything to say? VENGAL: Didn't hear a question in there, Sir. GIBBS: Well, okay then, Petty Officer. Here's a question. Why did you lie about taking your wife to the doctor? VENGAL: I did take my wife to the doctor. She's pregnant. GIBBS: I'm talking about April twenty eighth. You remember that date? VENGAL: No, Sir. GIBBS: Well, here. Let me refresh your memory. You were late for a squad meeting. Your excuse was taking your wife to the doctor. Lieutenant Johnson wrote you up. (bat) Want to reconsider your answer? VENGAL: I went to see a doctor off base for a medical problem. GIBBS: What sort of medical problem? VENGAL: Inner ear infection. GIBBS: They would have yanked you from the mission if they knew that. VENGAL: I could have worked through it. GIBBS: Yeah. Maybe. But you would have been putting everyone else at risk. VENGAL: I had it under control. GIBBS: What happened on the cliff? VENGAL: I told you what happened. GIBBS: Your track record for the truth is unimpressive. VENGAL: We were inserted by Huey... CUT TO: EXT. CLIFF NIGHT - FLASHBACK VENGAL: (V.O.) We secured our ropes. Went down in pairs. CUT TO: INT. INTERROGATION ROOM VENGAL: Lieutenant Johnson's D-link snapped. End of story.(INSERT FLASHBACK SCENE) GIBBS: You had access to Lieutenant Johnson's gear. VENGAL: So did everyone in the unit. GIBBS: Yeah, but you were the only one that Johnson was writing up. He wasn't recommending you for promotion. He made multiple page thirteen entries that only you knew about. VENGAL: Why would I kll Lieutenant Johnson? If he dies the whole squad's off the mission. I risked my career so I could stay on the mission. (MUSIC OUT) MUSIC IN: INT. HANGAR - NIGHT (SFX: PLANE TAKES OFF B.G.) KRAMER: (INTO PHONE) Gibbs, Kramer. (V.O.) What's the status? CUT TO: INT. GARAGE - NIGHT GIBBS: (INTO PHONE) No change. KRAMER: (V.O./FILTERED) The team's in the air. CUT TO: INT. HANGAR - NIGHT KRAMER: (V.O.) Touchdown is scheduled in eight hours. If we don't have a definitive answer by then, the mission is scrubbed. CUT TO: INT. GARAGE - NIGHT GIBBS: (INTO PHONE) That's not going to happen. CUT TO: INT. HANGAR - NIGHT KRAMER: (INTO PHONE) Well, I hope you're right. It's a hostage rescue situation. CUT TO: INT. GARAGE - NIGHT KRAMER: (V.O./FILTERED) Opportunities like this don't come along very often. (HANGS UP PHONE) (END TELEPHONE INTERCUTS) GIBBS: All right. Let's pretend we don't know anything. TONY: That's not much of a stretch. GIBBS: Let's start from the beginning. KATE: Someone substituted a phony D-link for Lieutenant Johnson's real one. GIBBS: When? TONY: They had the rappelling exercise two weeks before without a problem. GIBBS: It was in that two week window. KATE: Well, nine days out of the two week period they were in isolation. GIBBS: If someone outside the unit pulled the switch, they had a five day period to do it. Who had the best opportunity? KATE: The wife. GIBBS: What about the best friend - Clannon? KATE: Gibbs, he's a priest! GIBBS: Yeah, so? KATE: Okay, he had opportunity, but no motive. GIBBS: That we know of. What was the wife's motive? TONY: Well, they were sleeping in different bedrooms would indicate they were arguing about something. You know something about that. (bat) Sorry, boss. GIBBS: Who had the skill to make a D-link? KATE: The wife made metal jewelry. She could make a D-link. GIBBS: The wife wasn't having an affair with someone at the jewelry store? A jealous husband? KATE: Our investigation indicates nothing like that. GIBBS: Financial? TONY: Normal. GIBBS: Motive, method, opportunity. The wife had all three. DUCKY: Ice cream's here! TONY: Thank god! I'm starving! (bat) I can wait. GIBBS: Duck, what are you doing here? It's the middle of the night. DUCKY: How could I be at home in my warm and comfortable bed knowing my brethren were here toiling away in the name of national security? GIBBS: Couldn't sleep, huh? DUCKY: Not a wink. GIBBS: Neighbors again? DUCKY: Or as I like to refer to them, the devil's spawn. GIBBS: Well, it's good to see you, Duck. We could use a new pair of eyes around here. DUCKY: I'm afraid the freshness date on my eyes expired a while back. However, I do have corrective lenses. CUT TO: INT. NCIS LAB - NIGHT MCGEE: Any luck with the port scan?(MUSIC B.G.) ABBY: Still trying to find an opening. MCGEE: Are you going after the sockets or the firewall itself? ABBY: The firewall. You? MCGEE: Connected. Trying to authenticate. ABBY: A-P-G or keystroke capture? MCGEE: I tried A-P-G but the admin had limits on how many times you could go in. ABBY: How are you going to cover your tracks? MCGEE: I'm putting in a program bot which will call another host infected with a similar bot... ABBY: And so on and so on and so on... MCGEE: Until it reaches the remote. ABBY: And afterwards it'll self destruct? MCGEE: Yeah, but before it does, the bot knows what files to delete from the host system so it can delete the logs. ABBY AND MCGEE: (IN UNISON) I'm sorry. MCGEE: Go ahead. ABBY: No, you go ahead. MCGEE: I'm sorry that I got upset with you. ABBY: It's okay. I understand. You're insecure. MCGEE: You think I'm insecure? ABBY: Well, in a cute way. MCGEE: I'm not - I'm not insecure. What makes you think I'm insecure? ABBY: Oh, that whole "where's our relationship going" thing. MCGEE: So it's insecure to want to know the status of your relationship when one of the people in that relationship can't accurately communicate her feelings? ABBY: Yes! MCGEE: Okay, I guess my poem didn't mean anything then. ABBY: Oh, no. I loved your poem! MCGEE: You did? ABBY: Of course I did! MCGEE: Which part did you like? ABBY: All of it. MCGEE: Even the finger snaps? ABBY: Especially the finger snaps. CUT TO: INT. GARAGE - NIGHT GIBBS: Looks like we're back to square one. DUCKY: I don't seem to have been much help. GIBBS: Well that's okay, Duck. DiNozzo there sure enjoyed the ice cream. DUCKY: Well, if I have any brain storms... GIBBS: Yeah, we'll be here. KATE: I wish I had a better idea of how all this repelling stuff worked. Then it might be easier to figure out what happened. TONY: I have... kind of a crazy idea. KATE: Hmm. Those are never comforting words coming from you. (LONG bat) What?! (PASSAGE OF TIME) KATE: No! No way! GIBBS: You'll do fine. Push this down and clamp it onto your harness like that. You're ready to go. KATE: Okay, remind me. This is going to help us solve the case again, because...? TONY: It's fun? GIBBS: You want to understand what happened. This is how you understand.(SFX: ELECTRIC LIFT B.G.) (KATE WHIMPERS) KATE: Okay. TONY: You used to protect the President? GIBBS: You'd better check your harness. You're up. How's that feel? KATE: Uh... it's like I'm about to throw up. GIBBS: Face me. DiNozzo, you're on belay. TONY: Don't worry, Kate. I've got your back. KATE: Yeah, that's what I'm afraid of, Tony. GIBBS: Guide hand. Right here. Break hand. If you want to stop, clamp down on this and put your thumb right at the center of your butt. TONY: All set down here, boss. GIBBS: Remember what I told you. KATE: Todd on rappel! TONY: DiNozzo on belay! GIBBS: Are you ready? KATE: You know, Gibbs, I kind of think I've got the gist of it now. It's fine-- GIBBS: You're doing great.(GIBBS PUSHES KATE FROM THE LIFT) (KATE SCREAMS) TONY: See? Now you know what it feels like. (PAUSE)(SFX: ELECTRIC LIFT B.G.) TONY: What? KATE: The fake D-link is lighter than the real one. TONY: Okay. KATE: Johnson was an experienced climber. Why didn't he notice the difference? GIBBS: Get out of that. We have less than an hour. CUT TO: INT. NCIS LAB - NIGHT ABBY: No. No, you have to change the bit to on.(MUSIC B.G.) MCGEE: I know, I know. ABBY: Embed the bios then flash the bios. MCGEE: We can have it runaway into memory and link everywhere on the system from there. Even if they kll it in memory. ABBY: They'll have to take it one step further and k*ll it in bios. MCGEE: Yes, we are kicking ass. ABBY: Yes, we are. Can't you type any faster? MCGEE: Not unless I grow another hand. ABBY: Here, let me. (ABBY TYPES) CUT TO: INT. GARAGE - DAY (GIBBS WALKS ACROSS THE GARAGE) GIBBS: Right here in front of us the whole time. TONY: Lathe, vice, acetylene torch. KATE: Everything you need to make a D-link.(SFX: PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. You got the emails? What did they say? Love letters? To who? (TO TONY AND KATE) Abby and McGee cracked Johnson's secret e-mail account. We got our answer. CUT TO: INT. JOHNSON LIVING ROOM - DAY DENISE: I suspected something a couple years ago. I'm not sure what I saw, it's not the type of thing a woman thinks about her husband. GIBBS: How did you find out? DENISE: Two weeks ago Rick told me he was going quail hunting for the weekend, which wasn't unusual except... GIBBS: You knew that it wasn't quail hunting season. DENISE: I knew. He had once told me about a GPS device the SEALs use for surveillance. I bought something similar online and I hid it in his car. CUT TO: EXT. STREET - NIGHT - FLASHBACK DENISE: (V.O.) He drove to downtown Baltimore. His car didn't move for two days. I saw Rick come out with him. They hugged. He watched Rick leave....waved goodbye. CUT TO: INT. JOHNSON LIVING ROOM - DAY DENISE: You want to hear something funny? I was hoping it was another woman. KATE: What happened after that? DENISE: I confronted him. He didn't try to deny it. I guess he felt relieved. He said he had an e-mail account and that's how he communicated with his - I told him he had to make a choice. GIBBS: Why didn't you tell us that? DENISE: I didn't want to embarrass his friends, his family. Rick was very religious. And I was hoping that didn't have anything to do with his death. GIBBS: Yeah, but you knew it did. DENISE: Yeah. I saw him working on his D-link. Rick dedicated his life to the Navy. Five generations of his family have served honorably. But maybe if I hadn't confronted him... I wake up every morning and I can't stand to look at myself in the mirror. I mean, why couldn't he tell me? (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. KRAMER: (V.O./FILTERED) We're ten minutes from touchdown. We need an answer. GIBBS: (INTO PHONE) It was su1c1de. You're good to go. (SOBS B.G.) KRAMER: (V.O./FILTERED) Thank you, Agent Gibbs. CUT TO: INT. CHURCH - MORNING KATE: I enjoyed your sermon. CLANNON: Because I worked in Mel Gibson? KATE: It didn't hurt. I realized that in the midst of all the things that were going on, I never got to tell you how sorry I was for your loss. CLANNON: He was the best man I have ever known. I just... I tried to help him believe in who he was - and that may not be within church doctrine - but I believe it's God's love. I feel like I failed him. KATE: You didn't. CLANNON: How can you know? KATE: I have faith. (MUSIC OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "01x22 - A Weak Link"}	foreverdreaming
FADE IN: INT. AUTOPSY ROOM - DREAM SEQUENCE (SFX: HEART bat QUICKENS B.G.) (DOORS SLIDE OPEN) (MUSIC OVER ACTION/GIBBS WALKS THROUGH THE MORGUE TO THE TABLE) (SFX: ZIPPER) (CUT TO BLACK) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: CLOSE ON MONITOR "REVEILLE"(PHOTOS FLASH ON THE MONITOR) (CAMERA PANS TO GIBBS) ABBY: Wake him up. MCGEE: I don't know. Maybe he needs the rest. ABBY: He's not resting. Look at him. His eyeballs are disco dancing under those lids. MCGEE: Disco dancing? Is that back? ABBY: It's Gibbs. It never left. GIBBS: McGee should have... hours ago. Norfolk office opens in.... twenty four minutes. It's a hundred and ninety three mile drive. MCGEE: I was going to call in. GIBBS: Yeah? And tell them what, McGee? MCGEE: Well uh...that you needed me to work here today. GIBBS: Why do I need you here? MCGEE: Well, because I have an idea on how to speed up the search for him. GIBBS: I'm listening. ABBY: Ooh, Gibbs! I dig 'em! GIBBS: Tell DiNozzo. MCGEE: The database you're scanning has over ten million photos. It'll take a month to check them all. GIBBS: Is your idea to depress me, McGee? MCGEE: No, no, no, no! If we found out his precise age, then we could limit the search to the year he turned twenty one. ABBY: Seventy three percent of U.K. graduates are twenty one. MCGEE: And scanning that year would cut down the search to a couple of days. ABBY: That's a good idea, huh? GIBBS: Oh yeah. Yeah, it's a hell of a good idea. Just one problem. How are we gonna find his age when we don't know who the hell he is? ABBY: Would you be less grumpy if you slept in a bed? GIBBS: No, I would not! ABBY: I didn't think so. MCGEE: The FBI has a software program they use on photos of children that have been missing for years to show what they'd look like today. GIBBS: I know what that asshle looks like today, McGee. McGee: I know you do, Boss. But to create that program the FBI needed age specific criteria. ABBY: So McGee spent half the night using their criteria to develop a program that can tell a person's age from a photo. MCGEE: I used the FBI algorithms for cordiodal strain, pore size, wrinkles, adipose tissue and the length of the nose and ears. ABBY: Which keep getting longer the older you get whether or not you wear earrings so you might as well wear them. GIBBS: This you can do? MCGEE: I just need a couple hours to put it on your hard drive. GIBBS: All right. That's worth a hall pass. I'll call Norfolk. He stay at your place? ABBY: Yeah. GIBBS: Did you sleep in the coffin, McGee? (DOOR OPENS/ CLOSES) MCGEE: Coffin!? You said it was a box sofa bed. ABBY: Well, it is... sort of. MCGEE: That's why you wouldn't turn the lights on. I can't believe I slept in a coffin. ABBY: Not just slept. MUSICAL BRIDGE TO: EXT. PARK - DAY JOGGER: Hi. TONY: Hey.(MUSIC OVER ACTION/TONY JOGS AFTER THE BEAUTIFUL WOMAN) TONY: Okay. You're on, baby! You're on!(SFX: TONY CHUCKLES) TONY: Steps. I'll get her on the steps. I'll get her on the steps. (SFX: TONY BREATHES HEAVILY) (SFX: ROTOR BLADES B.G.) TONY: One of those is Marine One. It flies the President. MARTA: Ja? TONY: Ja. German? MARTA: Swedish. TONY: Even better. Do you speak any English? MARTA: Ja. Ciao! TONY: That's funny. Okay. Okay. I gotta get in shape. CUT TO: INT. COFFEE HOUSE - DAY PRESIDENT BUSH: (ON TV) Mister Prime Minister, welcome to the White House. SACHS: What do you think about what Sharon is doing? KATE: Assassinating Hamas leaders or pulling settlements out of Gaza? SACHS: Either. I'm just trying to start a conversation. I'm John. AG department. KATE: Kate. NCIS. SACHS: Hi. Really? KATE: Yes, why? SACHS: I've never seen you. I'm at NCIS twice a month. KATE: You are? SACHS: Yeah. I specialize in actuarial analysis. Hail and storm damage. KATE: What NCIS do you think I'm with? SACHS: National Crop Insurance Service. GIBBS: That's us. Oh, yeah. She's a whiz on how corn losses affect the pork belly futures. (GIBBS WALKS AWAY) KATE: My boss. Weird sense of humor. SACHS: Yeah, I...(KATE WALKS TO GIBBS) KATE: How corn losses affect pork belly futures? GIBBS: Rule number seven. Always be specific when you lie. KATE: Why are you bringing me coffee from your caffeine dealer two blocks away? And don't use rule seven. GIBBS: Do you want that or not? KATE: I take my coffee with milk and sweetener. GIBBS: Taste it. KATE: It's a little strong. GIBBS: Strong's better. KATE: Gibbs, you're making me nervous. Scary scenarios are popping into my head. Like you're here to fre me or to tell me that I'm going undercover as DiNozzo's wife. GIBBS: I want you to profile a trror1st. KATE: What trror1st? GIBBS: The one you couldn't sab. (INTERCUT FLASHBACK SCENE OF KATE FIGHTING ARI) KATE: Ducky tell you that? It's true. GIBBS: Why? KATE: His eyes. I was looking into his eyes and they looked kind. GIBBS: They looked kind when he blew out Gerald's shoulder? KATE: You asked me why I couldn't sab him and I told you. GIBBS: Contrary to conventional wisdom, Kate, eyes can lie. You meet him again, don't forget that. KATE: I won't. I won't! GIBBS: Profile him. KATE: He is not an Islamic fanatic. Never used their rhetoric. No mention of Jihad, Allah, infidels. Whatever drives him, it isn't martyrdom. GIBBS: Revenge? KATE: Could be. Maybe money. GIBBS: A Hamas trror1st in it for the money? KATE: Well, he's not in it for the seventy virgins. He'd have no trouble attracting women. (bat) Don't go there. GIBBS: Why money? KATE: I just get the feeling that he lives large. He was well groomed. Manicured nails. Perfect teeth. Salon style hair. Gibbs, what is it with your hair? GIBBS: What's wrong with my hair? KATE: Nothing. Nothing. Your hair is ... you. GIBBS: Yeah, thank you. What else? KATE: He's intelligent. Bold. Willing to take big risks. CUT TO: INT. AUTOPSY ROOM - FLASHBACK GIBBS: Why? ARI: Why not?(SFX: gn) CUT TO: INT. COFFEE SHOP - DAY GIBBS: Why did he give me a chance to kll him? KATE: He had a flack vest. Knew you'd double tap him in the chest. GIBBS: What if I sht him in the head? KATE: It's a risk he had to take to make his escape plan work. GIBBS: No, he did not. He could have klled me in cold blood. H-R-T comes in, throws a flash bang. Either way he escapes just the same. KATE: You're right. Why'd he give you a sht at him? GIBBS: He needs to face death to feel alive. Maybe to feel anything. CUT TO: EXT. ROAD - DAY (MUSIC OVER ACTION/ MOTORCYCLE DRIVES FAST) (SFX: TIRES SCREECH) (SFX: CYCLE ENGINE OUT) MARVIN ATWOOD: Nice bike, Mister Craig. ARI: It's a motorcycle. A bike is something one pedals. Smoky Sam? MARVIN ATWOOD: Quad launcher. Four mssile. ARI: Maximum altitude? MARVIN ATWOOD: Fourteen hundred feet. ARI: We dogfight well above that. MCGEE: Unless you're flying ultra lights, Smokey Sam can't hurt you. It's just phenolic paper and Styrofoam. Wannabe aces must pay good money to pretend to dogfight. ARI: They don't pretend. We fly aerobatic aircraft armed with laser gn, smoke emitters, combat sounds in their headsets. It's very real except we don't permit dying. MARVIN ATWOOD: How about pissing their pants? Smokey Sam looks awfully real coming up at you. Navy uses them at Top gn. MAN: It's all set, Marv. MARVIN ATWOOD: Thanks, Pat. (TO ARI) Want to launch it? ARI: Why not? (SFX: SMOKY SAM LAUNCHES) (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) TONY: Good morning, Kate! KATE: That grin can only mean one thing. TONY: And what is that? KATE: You're in love. Again. TONY: You are so right. KATE: What's this one's name? TONY: She's Swedish. KATE: You don't know her name. How can you be in love with someone and not.... I forgot. It's you we're talking about. COMPUTER VOICE: You have mail. TONY: Let's see who misses me today. KATE: Tiffany. Crystal. Fanny. The girls down on the farm. TONY: You hacked into my computer? KATE: No. Ever since you used mine, all I get is prn spam. TONY: Like you never opened an x-rated site. KATE: Never. TONY: You know that's sad. KATE: Why? TONY: 'Cause I believe you. Where's the boss? KATE: M-TAC. Talking to Bahrain. Tony, I'm worried about him. TONY: Gibbs? That's like worrying about Jim Bowie in a Knfe fight. KATE: Bowie was klled at the Alamo. TONY: I know. I saw the movie. KATE: Tony, he's fixated on that trror1st. TONY: Not fixated, determined. Like Tommy Lee Jones in the Fugitive. Like The Duke in the Searchers. Mel Gibson in Payback. KATE: Do you ever read a book? TONY: Kate, determined is good in a cop. KATE: Not when it turns into obsession. Gibbs surprised me at D.C. Beans this morning. He bought me coffee and then he probed me about that trror1st like it happened yesterday, not months ago. TONY: That is serious. He's never bought me coffee. KATE: Tony... TONY: Kate, Gibbs is like a dog. He'll gnaw at an old bone until you throw him a steak. When he's done with the steak, he goes back to the old bone. The trror1st is Gibbs' old bone. KATE: Let's hope he doesn't choke on it. GIBBS: (V.O.) Damn it, Daniel! CUT TO: INT. MTAC ROOM - DAY GIBBS: Mossad is lying to you. This bastard is too good not to be on their radar. SNYDER: (ON SCREEN/FILTERED) They swear they have nothing. Not even a Hamas code name. GIBBS: Israelis tracked down Sheik Yassin and Rantisi in the heart of Gaza. You cannot tell me that they do not know who this guy is. SNYDER: (ON SCREEN/FILTERED) Gibbs, I can only tell you what they tell me. GIBBS: Any chance he's not Hamas? What if he's someone freelance brought in to clean up their Little Creek debacle? SNYDER: (ON SCREEN/FILTERED) Hamas is like the Mafia. They never trust anyone outside the family. GIBBS: Then Mossad has to have a dossier on him. SNYDER: (ON SCREEN/FILTERED) If they're holding out, it could be to take him out themselves. GIBBS: He's not in the Middle East. He is here. SNYDER: (ON SCREEN/FILTERED) Where'd you get that intel? GIBBS: My gut! MUSICAL BRIDGE TO: EXT. FARMHOUSE - DAY PRESIDENT BUSH: (ON TV) Thank you. REPORTER: (V.O.) That was President Bush. ARI: (V.O.) The Marines are window dressing. Only the two Secret Service agents on Marine One are armed. Marine One with Bush and Sharon will depart the White House at seven p.m. It will meet two identical Marine helos at the Washington Memorial. All three Sea Kings will then fly to the Potomac and follow it north toward Maryland, switching positions now and then to conceal which of them is Marine One. (ON CAMERA) The flight path to Bear Island is always the same. After that they can fly a number of routes to Camp David. Simi and Abdul will take the Zodiac to Bear Island and set up Smoky Sam in these woods on the south end. I have picked you for this vital mission because every rock you threw as boys at Israeli tnk... has missed. (SFX: CHUCKLES) ARI: And that is good. We want to miss. They can't realize these are training mssile. They must think they've been fired at by shoulder-launched rockets. That scenario requires all of them to execute an immediate emergency landing. Bassam? BASSAM: This field is the only area within miles where they can land as a unit. And when they do... we ht them. We disable Marine One's tail rotor with a rfle grenade, and destroy the other two helos with R-P-G's and capture the butchers Bush and Sharon to exchange for our imprisoned brothers in Israel. SIMI: How do you know which is Marine One? ARI: A bird is going to tell me. CUT TO: INT. NCIS LAB - DAY ABBY: Okay, now make him older than mummy dust. Oh, that's so cool! Okay. Now as a young guy on his first date. He wasn't a late bloomer like you, McGee. Oh, he's so cute!(SFX: MUSIC B.G.) (SFX: COMPUTER BEEP TONES) MCGEE: You think so? ABBY: Oh, well not cuter than you. MCGEE: Abs, I'm trying to work. ABBY: Sorry. MCGEE: No, I like it. It's just I can't concentrate. ABBY: Okay. What if I watch from way over here!? GIBBS: What are you doing? ABBY: Nothing. GIBBS: Then do nothing at your desk! ABBY: Gibbs, this is my lab! GIBBS: Desk! Now! Turn off the damn noise! You got his age, McGee? MCGEE: Why, I just got-- GIBBS: Yes or no? MCGEE: No. If you give me a minute I will... I think. GIBBS: You think?! MCGEE: No. Definitely I will. (SFX: BLUEGRASS MUSIC B.G.) ABBY: Better? (SFX: KEYBOARDING B.G.) GIBBS: That makes him twenty one in nineteen ninety. You keep scanning. MCGEE: You got it, boss. GIBBS: McGee... MCGEE: Yes? GIBBS: If you don't get a ht in three days, I'm going to think this was a ploy to play house! DUCKY: (V.O.) Gibbs was like this... CUT TO: EXT. D.C. CAFé - DAY DUCKY: ...just before his last divorce. KATE: We can't divorce him, Ducky. DUCKY: You wouldn't want to, my dear, no matter how gruff he becomes. TONY: Hey, maybe he'll take his frustrations out on that mysterious redhead instead of us. KATE: Must you talk with your mouth full? TONY: No. KATE: So who was Gibbs chasing when he divorced his last wife? TONY: Had to be a redhead. (KATE HITS TONY) TONY: You're not Gibbs! You do that again and you're going to be wearing that tuna salad. DUCKY: He was after a child mrder. Victim was five. Pretty little thing. A deviate had sexually abused her and then beaten her to death. KATE: Stuff like that makes me sick. Did Gibbs catch him? DUCKY: Oh, yes. But it took nearly a year. By then a second girl had been mrder. Gibbs was a bit difficult to live with for a while after that. TONY: It's her! DUCKY: Who? TONY: The love of my life! (TONY RUNS THROUGH TRAFFIC) (SFX: CAR HORNS HONK/TIRES SCREECH) DUCKY: Oh. KATE: When is he going to grow up, Ducky? DUCKY: It's in the genes, my dear. In Italy most boys Tony's age are still living with Mama. KATE: Oh gosh. Gotta head out. I've got a Gitmo conference in twenty minutes. It was Tony's turn to buy. DUCKY: I'll take care of it. KATE: No, no. DUCKY: My treat. KATE: No, that's not right. DUCKY: Go, Kate. It's been a long pale winter. I need some sun before returning to my human jigsaw puzzle. You don't want to go there. KATE: You're right. Thanks for lunch, Ducky. DUCKY: You're quite welcome. CUT TO: EXT. INTERSECTION - DAY (SFX: MOTORCYCLE ENGINE REVS B.G.) (SFX: CYCLE TIRES SCREECH) (SFX: CAR HORNS HONK) KATE: Federal agent! Follow that motorcycle. (CUT TO BLACK) MUSIC IN: INT. SQUAD ROOM - DAY GIBBS: Anything? MCGEE: Not yet. I thought I had a ht but there weren't enough points. GIBBS: Well, you trace it anyway, McGee. MCGEE: I did. It's a biology teach in Manchester. I spoke to him. Sorry. GIBBS: Stop apologizing. It's a sign of weakness. MCGEE: Sorry. Right. GIBBS: Where's Kate and Tony? MCGEE: Went to lunch with Ducky. GIBBS: When? MCGEE: About an hour... or so ago. GIBBS: I want "or so" in minutes, McGee. MCGEE: Maybe... maybe fifty. Well, they could be following a lead. GIBBS: Is that what you think they're doing, Agent McGee? MCGEE: Ah, no. I don't. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY DUCKY: This reminds me of a butcher I met in China. JIMMY: He mrder someone and chopped up the body? DUCKY: No, no. Claimed his big toe could predict earthquakes. Said it tingled for hours before a quake struck anywhere in the world. Left foot. Yes, when I assured him that many seismic events occur daily all around the globe, he became very excited - said that explained why his big toe always tingled. JIMMY: Did you point out the fallacy of his logic, Doctor? DUCKY: Oh, no no no. He was so happy. I hadn't the heart. JIMMY: Are you making this up, Doctor Mallard? DUCKY: Good grief, no. When one spends one's career traveling around the globe, one has an unlimited supply of mysterious and intriguing tales. Distal phalange. Right foot, I believe. You're quite rare, Mister Palmer. JIMMY: I am? DUCKY: Yes. Most new assistants would take one look at this lot and head for the loo. JIMMY: Hm. It's just a meat jigsaw puzzle. GIBBS: Ducky! JIMMY: Ah, Gibbs. Look what Special Agent Balboa found for me. GIBBS: Just when I think nothing will surprise me. DUCKY: It's pretty amazing, isn't it? One has to admire the skill despite the depravity. GIBBS: Where did Balboa find him? DUCKY: Oh, this poor fellow was found in a fifty five gallon drum of alcohol beside a dumpster at Bethesda Naval Hospital. He'd been dissected by a sadist with a knowledge of anatomy -- CUT TO: INT. AUTOPSY LAB - FLASHBACK ARI: (V.O.) Left ventricle, left atrium. (ON CAMERA) You haven't done an autopsy. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Oh Gibbs, I am so sorry. I should have realized. It could have narrowed your search for that bastard who put the bllet in Gerald's shoulder. It only just came to me. GIBBS: What came to you, Ducky? DUCKY: That bugger knew anatomy! I even asked him if he was a doctor. He didn't reply but I'll wager he went to medical school in Britain! GIBBS: Well that wouldn't be hard to find out. Thanks, Duck. DUCKY: Oh, you're more than welcome. I'm just furious that I didn't think of it sooner. GIBBS: Ducky, Kate and Tony come back from lunch with you? DUCKY: No. Tony went off on one of his usual pursuits and Kate had a video conference with Gitmo. (DOORS SLIDE OPEN/CLOSED) DUCKY: Oh, right big toe. JIMMY: We have a right big toe, Doctor. DUCKY: Well, I already gave you a left big toe. JIMMY: I know, Sir. DUCKY: Then how come we have... (PAUSE) ...oh, my! CUT TO: INT. SQUAD ROOM - DAY GIBBS: McGee, sit down! How long is medical school in the U.K.? MCGEE: Four years. GIBBS: Redirect your search. Medical. Post graduate. Ninety four. MCGEE: He's a doctor? GIBBS: Ducky thinks so. I'm going to MTAC. If DiNozzo comes back put him under house arrest. MCGEE: Me? CUT TO: INT. MTAC ROOM - DAY PRESIDENT BUSH: (ON TV) I'm pleased to welcome Prime Minister Ariel Sharon back to the White House. I think you said this is our eighth meeting... (PRESIDENT BUSH CONTINUES B.G.) GIBBS: Where's Gitmo? TECHNICIAN: Standing by, Sir. I'll shift her to the main screen. GIBBS: No, I'll take it on the headset right here. TECHNICIAN: Yes, Sir. GIBBS: Agent Cassidy. CASSIDY: Hello, Agent Gibbs. Where's Agent Todd? GIBBS: He's not here. Why'd she ask for a video conference? CASSIDY: (V.O.) She wanted to discuss the Hamas Little Creek lead I gave her a while back. GIBBS: You couldn't do that on the phone? CASSIDY: She wanted face to face. GIBBS: Anything else? CASSIDY: Nope. Hey, Tony! GIBBS: I'll get back to you later, Agent Cassidy. CASSIDY: (V.O.) Standing by. TONY: Hey boss. Uh... McGee said you wanted to see me. Actually, he said I was under house arrest, but I figured it was just your way of making a point. GIBBS: Do I have to tell you the name of the creek you're up without a paddle? Or how deep it is? TONY: Up to my knees? GIBBS: Ah. So you're familiar with this creek. CUT TO: INT. CORRIDOR - DAY TONY: Boss. I'm sorry I took a long lunch, but I'm not working a hot case so I didn't think... GIBBS: (OVERLAP) What's a hot case to you, DiNozzo? Shadowing a tight ass? TONY: That's not fair, Boss! I put in... GIBBS: wr's not fair, DiNozzo, and we are at wr. Until I relieve you - which may be any moment now - you will fight that wr twenty four seven. That includes sleeping, eating, taking a crap. You got it? TONY: I got it. May I say something? GIBBS: Only if it has to do with me catching that bastard I'm chasing. TONY: It does. GIBBS: Then speak. TONY: Boss, you really need to see Moby Dick. (SFX: GIBBS DIALS THE PHONE) CUT TO: INT. CAR - MOVING (SFX: PHONE RINGS) BASSAM: Simi. KATE: It's on the left side - on the belt! BASSAM: Who is Gibbs? (BASSAM HITS KATE) KATE: Ah! BASSAM: Who is Gibbs? KATE: My boyfriend. He calls me when he leaves the office. BASSAM: Where does he work? KATE: Iraq. (BASSAM HITS KATE) CUT TO: INT. STAIRCASE - DAY (GIBBS HANGS UP THE PHONE) CUT TO: INT. MARYLAND FARM - DAY (CAR DOOR OPENS/CLOSES) ARI: Caitlin. Did you miss me? (IN ARABIC) Who did this? BASSAM: (IN ARABIC) She was insolent. ARI: I apologize for Bassam's actions. KATE: At least he didn't blow my shoulder out with a nine mil. ARI: Bassam. Undo her cuffs. (TO KATE) How is Gerald? KATE: Still in rehab. He asks everyday if you're dad yet. (KATE HITS BASSAM) (BASSAM SHOUTS IN ARABIC) ARI: Satisfied? KATE: No. He smacked me twice. ARI: Being slapped by a woman is twice the insult to Bassam. KATE: Really? What about being sht by one? ARI: Why did Bassam strike her? SIMI: She would not tell him who was calling her cell. ARI: Oh, Gibbs called you. KATE: I'd better call him back, tell him where I am. He is my boss. ARI: Of course. But first some ice for your lip. Then you may call him. CUT TO: INT. SQUAD ROOM - DAY GIBBS: Heard from Kate? MCGEE: No. TONY: I tried her home. Not there. Gonna give her a paddle? MCGEE: Huh? TONY: It has to do with a creek Kate and I are up. CUT TO: INT. KITCHEN - DAY KATE: You told me I could call Gibbs. ARI: On one condition. KATE: Surprise, surprise. And what am I to say? ARI: You became quite ill after lunch. You went to emergency, where it was diagnosed as food poisoning. They pumped out your stomach, gave you an IV and sent you home. You'll be fine tomorrow. You just need some sleep. KATE: And if I don't say that? ARI: Marta. Tell our guest how you plan to entertain Agent DiNozzo tonight. MARTA: I will put a bllet in the back of his head as I run my fingers through his hair. CUT TO: INT. SQUAD ROOM - DAY KATE: (V.O./FILTERED) Tony's right. Never eat oysters in a month without an R. I'll be fine by tomorrow. TONY: Is she okay? MCGEE: Food poisoning. TONY: Food poisoning? GIBBS: I need coffee. TONY: Well, what's wrong? Other than not catching that Hamas guy. GIBBS: The Hamas guy! The trror1st! The bastard! The ass! We call him everything but his name, DiNozzo. Do you know why? TONY: Because we don't know his name? GIBBS: Because you're not working a hot case. I want his name! I want it today! And don't tell me it's Moby Dick. (GIBBS WALKS O.S.) MCGEE: Wow! TONY: Kate's right. I think Gibb's is losing it. You don't really think he meant today, do you? Oh! This slammin' girl that I'm supposed to take out tonight. She's Swedish. MCGEE: Ah... TONY: Has this sweet accent... MCGEE: Tony? TONY: Every Swedish girl I've ever known has always let me... MCGEE: Tony! TONY: What?! (MUSIC UP AND OUT) FADE IN: EXT. MARYLAND FARM - DAY ARI: It is a very nice Chardonnay, Caitlin, and almost perfectly chilled. I wish you'd taste it. KATE: Let her taste it. MARTA: I don't drink. KATE: That's right. Muslims don't use alcohol. ARI: Well, not at home. Perhaps if you thought of this as a weekend house party, with you as the honored guest. KATE: And you the charming host? ARI: Oh, many women find me charming. KATE: You must pay them well. (MARTA LAUGHS) MCGEE: (V.O./FILTERED) We are leaving. Do you know? ARI: (INTO PHONE/IN ARABIC) I will call you. (SFX: CAR ENGINES START) KATE: Do you know what? That's why I'm here, isn't it? ARI: Where is the pea? (ARI SHUFFLES THE SHELLS) ARI: You tell me where the pea is, Caitlin, and I will answer your question. MARTA: Lucky guess. ARI: Was it, Caitlin? KATE: No. Now answer my question. ARI: Once more to satisfy Marta that it wasn't luck. (ARI SHUFFLES THE SHELLS) ARI: I told you, Marta. Do you detect slight differences in the shells? KATE: Why am I here? ARI: To teach me this trick. I am quite serious. (ARI SHUFFLES THE SHELLS) ARI: Amazing. How did they teach you to be so observant? KATE: Who? ARI: The Secret Service. KATE: The President is flying to Camp David with Sharon today. I saw those mssile. You want to know which helo is Marine One to sht it down! ARI: Those tiny mssile are mere training aids. In any case, I have no intention of sh*ting down Marine One. KATE: You're a lying bastard. (MARTA LAUGHS) MARTA: Sorry. ARI: Unfortunately, half of that is true. MCGEE: (V.O.) His name is Ari Haswari. CUT TO: INT. SQUAD ROOM - DAY MCGEE: He graduated from Edinburgh Medical College in ninety four. DUCKY: Good Lord! So did I! Well, a few decades earlier, of course. ABBY: Of course. DUCKY: Extraordinary. I wonder if the College should be informed? TONY: Want to name him an honored alumni? DUCKY: Oh, very amusing, Tony. But not when we have such notables as Lord Lister, Doctor Peter Mark Roget, and Sir Author Conan Doyle. MCGEE: You have some famous alumni, Ducky. DUCKY: We should. The medical college is over four hundred years old. It traces its origins back to seventeenth century barber surgeons who did blood-letting and bone setting-- GIBBS: (OVERLAP) I'll be doing some blood-letting if this huddle isn't work-related. MCGEE: Hey Boss, we got it! ABBY: (OVERLAP) We've got a name! MCGEE: Doctor Ari Haswari. DUCKY: He's a graduate of my old medical school in Edinburgh. GIBBS: That's great work, McGee. What's with his name? Ari is Israeli. Haswari is Arab. ABBY: Maybe his folks are working on some sort of Middle East peace plan. GIBBS: McGee, find someone who knew him in Edinburgh. TONY: Already did, Boss. I spoke to a Doctor Martin Sedwick, Pickford Mews, London. He and Ari were post graduate research assistants at the Edinburgh Centre for Infectious Diseases. TONY: That's why Hamas chose him to recover the small pox virus. Doctor Sedwick said he was quite brilliant, always with beautiful women and always answered to Haswari....never Ari. MCGEE: I think I know why. His father was Doctor Benjamin Weinstein. His mother, Doctor Hosmiya Haswari. They worked in Jerusalem Hospital and never married. ABBY: Ooh. Haswari didn't like his Jewish daddy. GIBBS: Call him Ari. TONY: Ari worked with his mother in a Gaza strip clinic until she died four years ago. ABBY: So he went from doctor to trror1st. MCGEE: Rintizi was a doctor. DUCKY: So was Che Guevara. TONY: Jack the Ripper was a surgeon. DUCKY: He was never caught. That's only a supposition. There's a very interesting theory... GIBBS: (OVERLAP) Tony, let's go! McGee, give me a G-P-S search on Kate's cell phone. It's off now but if it comes on I want coordinates. TONY: Kate's at home, Boss. GIBBS: She didn't answer her phone. I don't think she ate bad oysters for lunch. TONY: She had a tuna salad. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN): GIBBS: Tony, that bastard's got her. TONY: Boss... GIBBS: (SHOUTS) He's got her! CUT TO: EXT. MARYLAND FARM - DAY KATE: There is no way to tell them apart. And if there was I wouldn't tell you. MARTA: Even if it meant your life? KATE: Are you willing to die for what you believe? MARTA: We Hamas prove that every day. KATE: No. Your children do. ARI: Marta, give me her gn. MARTA: We are wasting time. ARI: The gn, Marta. Please. If klling is to be done, I will do it. I believe you, Caitlin. Relax. Have a glass of wine. I don't like to drink alone. MARTA: Haswari! What--! ARI: Caitlin is telling the truth. There is no way to identify Marine One from the others. MARTA: You told me there was. ARI: I lied. (SFX: gn) ARI: Women should never get involved in politics. It's a waste of beauty. Call your old friends at the Secret Service. I will tell them all they need to know. Take it. My Hamas are well trained. They won't kll or capture your President and mine. KATE: Your President? ARI: I am Israeli. Mossad. CUT TO: INT. GIBBS' BASEMENT - NIGHT DEBRA GREEN: (ON TV) A sht today in Great Falls National Park between FBI Agents and alleged Colombian drug dealers lead to the death of three suspects and the wounding of two Agents. One suspect is reported to have escaped on foot and a wide-spread manhunt is underway throughout the park. GIBBS: Suspected drug dealers, huh? Whose idea was that? FORNELL: Secret Service. GIBBS: Ah, they give Ari his "Get Out of Jail For Free" pass too? FORNELL: No. CIA did that. But all the Directors agreed. Even yours. Ari's father was Mossad. Probably knocked his mother up to get a son with Arab blood. Sent him to medical school to vet him as a doctor in Gaza. This guy's been a sleeper his entire life! GIBBS: I'd love to put him in a coma. FORNELL: Al Qaeda funded this Hamas Op. Ari was just doing what he had to do to make his bones with them. GIBBS: You tell that to Gerald. FORNELL: You forget I lost a man and had three wounded. GIBBS: No. But it seems you did. FORNELL: You know better than that. GIBBS: There is a line, Tobias. That bastard crossed it! You don't make your bones shting friends! FORNELL: (SHOUTS) What do you want us to do? He's inside Al Qaeda! GIBBS: (SHOUTS) I don't know! (FORNELL COUGHS) FORNELL: (bat) How the hell do you breathe in all this dust? GIBBS: I don't. FORNELL: You got anything to wash it down? GIBBS: Oh the top shelf next to the paint stripper. FORNELL: Who drinks bourbon anymore? GIBBS: I do. FORNELL: You got a glass? GIBBS: Use my coffee mug. FORNELL: What about you? GIBBS: I use my coffee mug. You go upstairs and get a glass or... drink out of the bottle. FORNELL: What the hell. (SFX: FORNELL GASPS) FORNELL: I see why you keep it with the paint strippers. GIBBS: It's a hundred twenty five proof. You sip it, Fornell. FORNELL: The Directors want your word that you'll forget about Ari. They think you'll blow his cover. GIBBS: If I got payback, it won't be by blwing his cover. Why are you asking me this and not my director? FORNELL: He refused to. GIBBS: (CHUCKLES) Yeah. All right. On one condition. FORNELL: There's always one condition. GIBBS: I want to speak to him, in a place of my choosing, alone. FORNELL: Nobody's going to go for that. GIBBS: Ari will. CUT TO: INT. AUTOPSY ROOM - NIGHT (SFX: HEARTBEAT B.G.) (SFX: DOORS SLIDE OPEN) (GIBBS WALKS TO THE TABLE) (SFX: ZIPPER) GIBBS: She was beautiful. ARI: Very. GIBBS: Did you make love to her, and then blew her brains out? ARI: She would do the same to me. GIBBS: Why do you do this? ARI: Same reason you do. GIBBS: I don't think so. ARI: Then you are lying to yourself. GIBBS: What now? You go back to the Middle East. You tell them Marta was Mossad, and she blew the op. ARI: Yes. GIBBS: Two op failures in a row. I'd ax your ass if you worked for me. ARI: People who blow themselves apart to kll their enemy have lower expectations. GIBBS: How do you sell Marta as a double agent? ARI: My men the FBI permitted to escape. They know the effort I put into this operation. Buying Smoky Sams, kidnapping Agent Todd so I could identify Marine One. And when they search Marta's apartment, they will find money and documents traceable to Mossad. Hamas will believe me. Al Qaeda is more weary. GIBBS: If they don't believe you, you're dad. ARI: Yes. And if they do, I may learn what they plan as the next Nine Eleven. Would you risk losing that opportunity over pride? GIBBS: It's not pride. ARI: If not pride then what? Love of country? Sense of duty? I'm sure those exist in you. But what burns is pride, my friend. Shalom. (SFX: gn) GIBBS: Just wanted to help you convince Al Qaeda. (SFX: DOORS SLIDE OPEN/ CLOSED) (ARI CHUCKLES) (SFX: ELEVATOR DOORS SLIDE CLOSED) (ENDING CREDITS UP) (FADE OUT)	{"type": "series", "show": "NCIS", "episode": "01x23 - Reveille"}	foreverdreaming
MUSIC IN: INT. LIVING ROOM - DAY (SFX: PIANO B.G.) JILL: We're running late. Let's get a move on, little lady. SANDY: There's someone at the front door, Mom. (DOOR BELL RINGS) JILL: Show off. Let's go. (DOOR OPENS) POLICE OFFICER: Mrs. Watson? JILL: Yes? POLICE OFFICER: There's been an accident, Ma'am. Your husband... he's been injured. I'm to transport you and your daughter to the hospital. CUT TO: INT. OFFICE - DAY (DOOR OPENS) WIFE: Good morning, Captain Watson. WATSON: Good morning, Shirley. SHIRLEY: How'd the recital go last night? WATSON: Well, would it be wrong for me to say that I'm the father of the most talented little girl in the entire world? SHIRLEY: It'd be wrong if you didn't. Still on a diet, or should I put cream in your coffee? WATSON: I ran ten miles yesterday. SHIRLEY: Cream coming right up. (SHIRLEY WALKS O.S.) (DOOR CLOSES) COMPUTER VOICE: (MORPHED) Captain Watson. WATSON: Who's there? COMPUTER VOICE: Before Shirley returns with your coffee... know that we have your wife and daughter. If you want to see them alive again, you will do exactly as I say. (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. OFFICE - DAY COMPUTER VOICE: Look in your briefcase's back compartment. WATSON: Who are you? COMPUTER VOICE: Now, Captain Watson. Plug it in and place it on top of your computer screen. You will go about your day in the usual way. Only you will not leave your office. You will make no attempt to contact anyone. WATSON: Who are you? What do you want!? COMPUTER VOICE: Two million dollars from the Special Operations fund. WATSON: Are you crazy? I can't transfer two million dollars. The system won't allow me to! COMPUTER VOICE: You'll find a way, Captain. Or would you rather I sh*t them both right now? CUT TO: INT. SQUAD ROOM - DAY "SEE NO EVIL" TONY: Anyone? And I mean anyone know when the air conditioner's getting fixed? Huh? What about the name of the genius who invented windows that don't open? And what are we on? A space ship? Windows should open... KATE: Have you been working out? TONY: All summer long. Thanks for finally noticing. KATE: No, I mean right now, because you're sweating like a pig and it's not very attractive. (SFX: KATE SHRIEKS) MCGEE: Uh... morning, Agent Todd. KATE: McGee, MCGEE: Yeah? KATE: You have two seconds to tell me what you're doing down there. MCGEE: I'm... I'm upgrading the computer network and uh... KATE: Time's up. MCGEE: No, I wasn't looking. I swear. Ow! Ow! Ow! Ow! Ow! Ow! I wasn't looking.... I wasn't looking... ow! GIBBS: Tony. TONY: Yes, Sir? GIBBS: Did I just see what I thought I saw? TONY: Out of respect for my co-workers, boss, I'd have to say... yes, you did. And it's very disturbing. GIBBS: I agree. Put your damn shirt back on. This is a Federal office building, not a gym. Damn, McGee. Why are you still here? MCGEE: Uh... the contractors - they won't wire the network until the air conditioning's fixed. It's a union thing so... GIBBS: So you decided it's more important for an NCIS Special Agent to crawl around all day by yourself? TONY: Man asked you a question. MCGEE: I just wanted it fixed before I returned to Norfolk. GIBBS: Yeah? You have any idea where thinking like this is gonna lead you? TONY: Yeah, do you, McGee? GIBBS: Promotion. You need any help, you ask Tony here. Looks like he can use the workout. MCGEE: It's not that difficult. So I guess I could do it myself. TONY: Good answer. KATE: Don't let him intimidate you, McGee. That's my job today. (INTO PHONE) Agent Todd? MCGEE: I didn't look. TONY: Oh, no. I believe you. I just have a little question that I want to ask you. Is she a panty hose or a thong girl because I'm thinking thong. (KATE PUNCHES TONY) (TONY GRUNTS) KATE: We've got a problem, Gibbs. (GIBBS BANGS HIS PDA ON THE TABLE) GIBBS: I hate this thing. Crap! KATE: There's a secretary from the Pentagon downstairs and she claims that her boss is being held hostage by his computer. GIBBS: See? There is a reason I didn't trust these things. Here. Reboot that or something. (TO KATE) Send her up. MCGEE: Reboot it? KATE: Or you can do what we always do. TONY: It's his third one this month. CUT TO: INT. INTERVIEW ROOM - DAY SHIRLEY: When I brought him his coffee I heard the computer talking to him. KATE: "You've got mail?" SHIRLEY: No, it was this weird electronic voice, and then it cut off the second I entered the room. Look, I know it sounds crazy, but I can't tell you the rest until you promise that you won't try to contact him. GIBBS: Whatever you're afraid of, Miss Wilkes, we can handle it. SHIRLEY: He slipped this into a stack of folders and he told me to take the rest of the day off. GIBBS: Forget your glasses, boss? KATE: (READS) Office under electronic surveillance. Can't leave! Jill and Sandy kidnapped. Must transfer two mil to overseas account by eighteen hundred or they die. Contact NCIS. No one else. TONY: Finally someone appreciates us. SHIRLEY: If anything should happen to them... I mean, she's just a little girl, Agent Gibbs. CUT TO: INT. SQUAD ROOM - DAY KATE: The Watson's live in McLean. There's no answer at home and their daughter Sandy didn't show up to school this morning. It says here she's blind. GIBBS: Tony? TONY: I can confirm he's the comptroller for J-SOC. Office is in the A-ring of the Pentagon. I'm pulling up a schematic now. KATE: J-SOC? TONY: Joint Special Operations Command. They fund S.M.U. S.M.U. stands for... KATE: Special Military Units. I worked with a few of them when I was Secret Service. So he can really transfer this kind of money overseas? GIBBS: More if he needs to. TONY: Our bad buy would have to pass through five security checkpoints to get to Watson's office. KATE: Well, the Pentagon records all access. GIBBS: There's twenty five thousand people working there, Kate. TONY: By the time we're done downloading that list, the Government's out two million dollars. GIBBS: Or Watson's family's dad. KATE: Well, it has to be somebody on the inside. The Pentagon is the most secure building in the world. MCGEE: They could be using a Trojan. She said that they were using his computer. A Trojan would give them back door access. TONY: You kiss your mother with that mouth, McGee? MCGEE: No, Tony. A Trojan is a program. It's like a virus that establishes a gateway into a computer and allows a hacker to control the system. KATE: It still doesn't explain how it got into his machine. MCGEE: Well, if they're good they could have done it from anywhere. They wouldn't even have to set foot in the building. TONY: How are they watching him then? MCGEE: Could be using a web cam. GIBBS: Or they're lying. Kate, take McGee and search the Watson's house. DiNozzo, I want everything there is on Watson and his family by the time I get back. TONY: Where are you going, boss? GIBBS: To talk to Captain Watson. KATE: Wait, Gibbs, if they're watching him and you show up... GIBBS: I'd better make sure they don't notice me. (GIBBS WALKS O.S.) KATE: That is not a good call. GIBBS: Relax. You think Gibbs keeps that haircut to save on shampoo? CUT TO: INT. PENTAGON HALLWAY - DAY SERGEANT: (V.O.) Morning, gn. GIBBS: Good morning, Staff Sergeant. CUT TO: INT. WATSON'S OFFICE - DAY COMPUTER VOICE: Moving those dollars around, Captain? WATSON: I'm trying. The only way I can stay under the radar is to not make a withdrawal that exceeds ten thousand dollars from any single operational budget. (KNOCK ON DOOR) COMPUTER VOICE: What's that? WATSON: Oh, this is an office. People are going to be dropping by request forms all day long. COMPUTER VOICE: Not today. Send them away. WATSON: If I keep doing that, they're going to get suspicious. COMPUTER VOICE: Okay, but just don't forget what's at stake here, Captain. WATSON: I won't... you bastard. Enter. (DOOR OPENS) GIBBS: Sorry to have missed the budget meeting yesterday, Sir. You know how the Colonel gets when he's sick. WATSON: How's he doing, gn? GIBBS: Better, Sir. Thank you. He wanted me to check with you, see if you needed any extra help down here. WATSON: Tell him I appreciate it, but we've got things covered. GIBBS: Roger that, Sir. The latest batch of requests for you. The most immediate priorities on top. This must be that daughter you're always talking about. She is a beauty, Sir. WATSON: She is that, gn. She is that. GIBBS: If you change your mind, Sir, all you have to do is call. We have plenty of people willing to help you, Sir. WATSON: I will gn, thank you. GIBBS: You have a nice day, Sir. (DOOR OPENS/ CLOSES) WATSON: He's gone. COMPUTER VOICE: He was right about one thing. She is a little beauty. CUT TO: INT. DARK ROOM - ON MONITOR SANDY: Who... who's there? COMPUTER VOICE: Shhhh. (SFX: SANDY SHOUTS) (MUSIC OUT) MUSIC IN: INT. CAR - PARKED MCGEE: Well no signs of anyone observing the place. KATE: Let's roll. (CAR DOOR OPENS/CLOSES) CUT TO: EXT. HOUSE - DAY KATE: She either left in a hurry or was forced to. MCGEE: What makes you think she didn't just leave it there? KATE: Because she's a little girl, McGee. They're not typically slobs. MCGEE: Remind me to introduce you to my little sister. KATE: What was that?! MCGEE: Nothing, Agent Todd. (SFX: DOOR BELL RINGS) KATE: Are you still pushing to be a full-time field agent? MCGEE: Very much so. KATE: Well, we need to get in. Suggestions? MCGEE: Uh... last time I encountered a situation like this... Tony threw a rock through the window. KATE: Yet another glaring difference between boys and girls. Follow me. CUT TO: INT. NCIS LAB - DAY COMPUTER VOICE: He was right about one thing. She is a little beauty. ABBY: Okay, Gibbs. Your mike is coming in loud and clear. Who's in the office with him? The devil? TONY: Hey. You know, considering that no one in this room is actually deaf, that is really annoying. (GIBBS AND ABBY SIGN) TONY: Hey, that was about me, wasn't it? GIBBS: Patch in the video, Abs. (SFX: KEYBOARDING) ABBY: It's not a very flattering angle. GIBBS: Well, it's the best I could do. What can you tell me about the voice? ABBY: It sounds like this particle physicist I used to date. He had these tiny little Chiclet-like teeth and an Eiffel tower tat on his... GIBBS: You want this, Abby, or not? ABBY: Okay, obviously it's being disguised. I think I can filter it back to its original state. COMPUTER VOICE: (FAST FORWARD) She is a little beauty. She is a little beauty. TONY: Yeah, okay. I'll get that A.P.B. out on the Lollipop Guild right away. ABBY: Patience, Tony. COMPUTER VOICE: (SLOW MOTION) Little beauty. A little beauty. (UNFILTERED) He was right about one thing. She is a little beauty. ABBY: Pretty cool, huh? GIBBS: Not bad. ABBY: Thank you. GIBBS: Next thing I want you to do is hack into Watson's computer. It's the only link we have to the kidnapper. ABBY: Gibbs, we are talking about the Pentagon here. Even their encryptions have encryptions. GIBBS: Yeah? That dirt bag sure managed it. ABBY: It probably took him months! Our best bet is to ask the D.O.D. for access to their system. GIBBS: First thing they'll do is disconnect the connection. If that happens we'll end up with two dad dependents. ABBY: I don't know if I can do it. GIBBS: DiNozzo, get McGee on the hook. ABBY: No! I'll get in. GIBBS: Yeah. ABBY: Yeah. GIBBS: I believe you. (GIBBS WALKS O.S.) TONY: Relax. When's the last time Gibbs was wrong? Discounting the whole marriage thing, of course. CUT TO: EXT. WATSON'S HOUSE - DAY KATE: Okay. McGee, hold me steady! MCGEE: All right. KATE: Okay, go left. No, my left. Your right! McGee, what are you doing? MCGEE: I'm doing what you're telling me to do. KATE: Are your eyes closed? MCGEE: Yes! KATE: Well then open them before you kll us! MCGEE: But this morning you... KATE: McGee, can't you tell when somebody's kidding with you? MCGEE: I used to and then I met you guys. KATE: Do you want to work with Gibbs? Then you're going to have to get over that. Trust me, I know. MCGEE: Eyes open it is. CUT TO: INT. NCIS SQUAD ROOM - DAY GIBBS: DiNozzo, I need a way to communicate with Captain Watson. TONY: Communication part's solved, boss. Earwig radio receiver. Used 'em all the time for undercover work back in Baltimore. GIBBS: How do we get it in his ear? TONY: Did I also mention there's one tiny flaw in my plan? GIBBS: DiNozzo, I show back up there as a gn, our guy's going to get suspicious. TONY: Well, you think I can pass for a Marine? GIBBS: I don't know. Let's shave your head and find out. TONY: Actually, I was leaning more towards Merchant Marine kind of thing. GIBBS: I've got a better idea. Don't eat that. No, no! CUT TO: INT. LIVING ROOM - DAY (SFX: KATE PLAYS PIANO KEYS) MCGEE: Well, no signs of forced entry or a struggle. KATE: They could have been taken at gn. MCGEE: Well, it's possible but I don't think so. KATE: Why is that? MCGEE: Well, why go to the trouble of locking the front door behind you? KATE: Not bad, McGee. Tony hasn't completely ruined you yet. Their daughter must be quite the pianist. Beautiful, too. There's nothing here. We're wasting our time. Let's go. Uh uh. I use the door. You lock it and go back out the window. MCGEE: I get it, you're kidding, right? (DOOR CLOSES) CUT TO: EXT. UPSTAIRS BEDROOM - DAY (SFX: MCGEE SLIPS ON THE ROOF TILES AND SLIDES) MCGEE: Whoa! CUT TO: INT. WATSON'S OFFICE COMPUTER VOICE: Five hours left, Captain. Ring the tote. WATSON: I've managed to isolate nine hundred thousand. COMPUTER VOICE: I'd move faster if I was you. (KNOCK ON DOOR) COMPUTER VOICE: You're learning. You may answer. WATSON: Enter! (DOOR OPENS) TONY: Hey, Captain. You got your sweet and sour with extra pineapple. I figured you might want to change your order tomorrow. I hear we're getting in some fresh duck.(DOOR CLOSES) WATSON: I'll just stick with the usual. TONY: All right. Eight seventy five today. How's the family doing? WATSON: Fine. You? TONY: Still having trouble communicating with the girlfriend. I talk... she doesn't listen. What are you going to do? (SFX: TONY GRUNTS) WATSON: Oh, yeah. Sure. For you. GIBBS: Thanks, Captain. See you tomorrow. (DOOR CLOSES) COMPUTER VOICE: Freeze! Open your lunch. Show it to the camera. Now! (CHUCKLES) Enjoy. (WATSON THROWS THE FOOD IN THE TRASH) CUT TO: INT. CORRIDOR - DAY TONY: Delivery complete. CUT TO: INT. LAB - DAY GIBBS: That's good work, Tony. TONY: (V.O./FILTERED) Thanks, Boss. That means a lot. GIBBS: If NCIS doesn't work out, I hear General Lee's Chinese Restaurant is hiring. (TO ABBY) Abs, get the Captain up on the feed. ABBY: All right. You're in. GIBBS: This is Special Agent Gibbs, NCIS. If you can hear me cough once, Captain. (SFX: WATSON COUGHS B.G.) GIBBS: We are changing the game plan, Skipper. When he contacts you again, tell him you want a good faith gesture on his part. Tell him that you want your daughter returned now. Tell him if you don't get her back you're going to take your chances with the FBI. He'll try to intimidate you, we have to call his bluff. Rub your brow if you have the courage to go this route. You are not alone, Captain. We're going to get through this together. I will be in touch. Okay, I want these feeds hardwired into M-TAC. (SFX: COMPUTER BEEP TONES) ABBY: Done. GIBBS: We inside his computer yet? ABBY: Oh, um... I think I'm... GIBBS: Need help? ABBY: Yeah. GIBBS: All you had to do was ask. One of the smartest people I know told me that once. ABBY: Who? GIBBS: You. CUT TO: INT. SQUAD ROOM - DAY KATE: The car is still in the driveway. No signs of a struggle inside. I think they may have known their kidnapper. GIBBS: Or been duped. KATE: Well, it looks like you and Tony have been making some progress. GIBBS: Not enough. COMPUTER VOICE: Time to update, Captain. WATSON: I'm doing my best. COMPUTER VOICE: Just make your deadline. (HANGS UP PHONE) GIBBS: McGee, help Abby get into Watson's computer. (TO TONY) Hey, come one. Let's go. KATE: A little short on deodorant today, Tony? CUT TO: INT. WATSON'S OFFICE - DAY WATSON: (ON TV) I've isolated nearly one point three million. (ON CAMERA) Now I want a gesture of good faith from you. COMPUTER VOICE: What kind of gesture, Captain? WATSON: I want you to release my daughter immediately. COMPUTER VOICE: Not going to happen. WATSON: Why? Because they're already dad? How do I know that's not just a tape!? You listen to me. You let Sandy go right now or it's over. I'm going to the FBI. COMPUTER VOICE: You'd never forgive yourself, you know. GIBBS: (V.O./FILTERED) This is the hard part, Captain. CUT TO: INT. MTAC ROOM - DAY GIBBS: Don't back down. Tell him you want to talk to your daughter. WATSON: (V.O./FILTERED) I want to speak to her! CUT TO: INT. WATSON'S OFFICE - DAY WATSON: Right now! (HOODED MAN AND SANDY APPEAR ON MONITOR) COMPUTER VOICE: (ON MONITOR) Plays the piano. Gifted, I hear. You don't need eyes to play the piano.... but you sure as hell need ears! (SANDY SCREAMS) WATSON: (SHOUTS) Sandy! COMPUTER VOICE: (ON MONITOR) One little tap. Monaural. Then the other ear, pop! Total silence and darkness forever.(SANDY CRIES B.G.) KATE: We can't risk that. GIBBS: He's bluffing. Stand your ground. Tell him if he does, that he'll never see a penny. KATE: Gibbs... CUT TO: INT. WATSON'S OFFICE WATSON: Let her go unharmed or I swear you'll never see a dime. CUT TO: INT. DARK ROOM - DAY KYLE GRAYSON: You know, I never was any good at taking orders, Captain. CUT TO: INT. MTAC ROOM - DAY WATSON: (ON MONITOR) I screwed up. I screwed it all up. GIBBS: It's only been forty minutes, Captain. He will contact you soon. Until then you have to stay strong. It's our best chance of getting your family back. (TO KATE) You got something to say? KATE: We're taking a really big risk here, Gibbs. GIBBS: Yeah, Kate? What happens to the little girl and her mother once this dirt bag gets the money? KATE: What, you think he'll kll them? GIBBS: You're the profiler. You tell me. CUT TO: INT. WATSON'S OFFICE - DAY (SFX: PHONE RINGS) COMPUTER VOICE: Answer your phone, Captain. WATSON: Where is she? Where's my daughter! COMPUTER VOICE: I said answer the phone, Captain! WATSON: (INTO PHONE) Yes? SANDY: (V.O./FILTERED) Daddy?! CUT TO: INT. MTAC ROOM - DAY WATSON: (ON MONITOR) Sandy! (V.O.) Sweetheart, where are you? SANDY: (V.O.) I don't know. He let me go, but he said, he said he'll kll Mom if I tell anyone what happened! WATSON: (ON MONITOR) Tell me where she is. COMPUTER VOICE: Lorton Amtrak station. You got your good faith gesture. Now get back to work. GIBBS: My people are on the way, Captain. Tell her to stay where she is. (TO TONY AND KATE) Go get her. WATSON: (ON MONITOR) Sandy, sweetheart, just stay right there. Don't... don't go anywhere. And Daddy... Daddy will be there to get you in just a little while.(SFX: SANDY CRIES B.G.) CUT TO: INT. WATSON'S OFFICE - DAY COMPUTER VOICE: Hang up the phone now, Captain! And believe me when I say your wife's life depends on it. WATSON: I have to hang up now, baby. And listen... I want you to be brave for me, okay? This will be over before you know it. SANDY: (V.O./CRYING) Daddy, help me! WATSON: God forgive me. CUT TO: EXT. TRAIN STATION - DAY SANDY: (CRIES INTO PHONE) Daddy? Daddy? (SFX: TRAIN HORN SOUNDS LOUDLY) (CUT TO BLACK) MUSIC IN: INT. NCIS LAB - DAY (MUSIC AND COMPUTER BEEP TONES B.G.) ABBY: Face it, McGee. We are doomed. MCGEE: Okay, we can try random password gener-- ABBY: Did it. MCGEE: How about an open port scan? ABBY: Done it. MCGEE: Oh, there's undocumented hole in the latest I.S.I-- ABBY: Tried it. MCGEE: Gibbs can't honestly expect us to hack into the Pentagon in a single afternoon? ABBY: Yeah. MCGEE: You're right. We are doomed. ABBY: We have to call D.O.D. and hope they'll let us in without severing the connection. MCGEE: Unless... what if the Trojan isn't system wide? If it was, our bad guy...: ABBY: Could just steal the money himself. He wouldn't need... MCGEE: Watson to do it for him. That means that he can't access the rest of the network. ABBY: We've been trying to hack the wrong place! MCGEE: Yeah. (SFX: KEYBOARDING) MCGEE: All right, scan for an open U-D-P and T-C-P connections on the J-SOC V-P-N. Yes! Yes! Got multiple incoming packets. Ports one-three-nine, four-four-five. Looks like a variant of the doomsday Trojan. (SFX: COMPUTER BEEP TONE) ABBY: I love it when you talk geek. MCGEE: I love it that you love it. GIBBS: I'll be sure to mention that to Captain Watson right after we're done burying his family. ABBY: I would hold off on those funeral arrangements, Gibbs. The reason we're so excited... GIBBS: We just hacked Captain Watson's computer. ABBY: And we should be able to back trace the connection... (SFX: SPARKS B.G.) ABBY: No! No! No! No! No! Ah!(SFX: RAPID COMPUTER BEEP TONES) ABBY: My baby just french fried. MCGEE: The system's overheated. GIBBS: So? Reboot it. ABBY: Believe it or not, Gibbs, not all computer problems can be solved by rebooting. GIBBS: Works for me. ABBY: Even if it does, it's going to take at least an hour for mine to cool down. MCGEE: And without air conditioning, it'll happen again. GIBBS: So take it someplace cooler. ABBY: Where? This whole building is like an illegal sweatshop. GIBBS: Not the whole building, Abs. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: May I trouble you for the left ear, Mister Palmer? PALMER: Ah, one left ear coming right up. DUCKY: When is the DNA analysis coming back on the right toe grouping? PALMER: Oh, should be ten - twelve days. DUCKY: Well, that's interesting. PALMER: What's that, Doctor? DUCKY: Oh, dear. PALMER: It's not the life ear? DUCKY: It's the left! It's just not the right left. So to speak. PALMER: Well that would mean that uh... DUCKY: Three bodies. Time to start another table. (SFX: DOORS SLIDE OPEN) ABBY: Hey, Ducky. My computer died. We need some place cooler to set up shop. DUCKY: Well, we're a bit tight on space at the moment, but you could use one oh seven. (SFX: DRAWER SLIDES OPEN) (SFX: MCGEE GASPS) DUCKY: Definitely not one oh seven. (SFX: DRAWER SLIDES SHUT) (SFX: DRAWER SLIDES OPEN) DUCKY: His family was supposed to make arrangements to pick him up last week. Ah, there we are. How's that? ABBY: Perfect. Thank you. DUCKY: Fascinating, isn't it? Parts of three separate bodies carved up with almost surgical precision. MCGEE: Why? DUCKY: I haven't a clue. Now we found them in a fifty five gallon drum of alcohol behind Bethesda Naval Hospital last month. ABBY: McGee. MCGEE: Yeah? ABBY: We're kind of running short on time. PALMER: Oh, can I give you a hand? GIBBS: No, I'm all right. CUT TO: EXT. AMTRAK STATION - DAY KATE: When I'm a mother, I'm never letting my kids out of my sight. TONY: Yeah, how do you plan on doing that? KATE: G-P-S locater strapped to the ankle. Audio and video surveillance built into their clothes. TONY: No, I mean the part about becoming a mother. KATE: Funny. The area looks clear to me. TONY: Me, too. Let's go get that kid. (SFX: SANDY CRIES B.G.) KATE: Sandy? My name's Kate. TONY: And I'm Tony. We're NCIS agents. That stands for... SANDY: I know what it stands for. They spoke at my school. KATE: Well, then you know that we're here to help you. Your daddy sent us. TONY: We know what happened to you and your mom, but you're safe now. Okay? SANDY: I heard him. KATE: Heard who, honey? SANDY: He didn't know it, but I heard him. He told my mom... he... he ... he's going to make my dad suffer. CUT TO: INT. AUTOPSY ROOM - DAY MCGEE: What the hell is it? ABBY: It's probably just some leftover bodily fluid. MCGEE: Oh, is that all. ABBY: Yeah. MCGEE: Disgusting. DUCKY: If you want to be a fulltime field agent, Timothy, you're going to have to get used to sights like that. MCGEE: Is it a common occurrence, Ducky, dismembered bodies in barrels of alcohol? DUCKY: Well, now that you mention it, I did have a great uncle who drowned in a vat of alcohol. MCGEE: Oh, I'm sorry to hear that. DUCKY: Of course he reportedly climbed out three times to go to the bathroom. GIBBS: Hey, what's the hold up? ABBY: We are almost set here. GIBBS: McGee, if I were you... I would spend more time working and less time cleaning. MCGEE: Yes. Yes, Sir. Sorry, boss. GIBBS: Duck, I got a patient upstairs for you. CUT TO: INT. SQUAD ROOM - DAY DUCKY: There you go. Feel better now? SANDY: Yes. Thank you. DUCKY: You've been a very brave patient, so I think you deserve a surprise. SANDY: A Hershey bar? DUCKY: Yes. Are you sure you're blind? SANDY: I can smell it. DUCKY: Oh, I'll be right back then. I need a few moments to talk to my friends. (CAMERA ANGLE ON GIBB'S DESK) TONY: It took him forty five minutes to drop her off. You figure twenty two minutes out, same back. That leaves a fifteen mile radius where he could be located. KATE: Hundreds of square miles and what? We have two hours left. TONY: We also pulled tapes from the train station. We might catch a sht of him dropping the kid off. KATE: Gibbs, it's like a hundred degrees in here. How can you drink that stuff? GIBBS: It keeps me cool. How's she doing, Duck? DUCKY: Remarkably well, considering the circumstances. GIBBS: What does she remember? DUCKY: Unfortunately everything. TONY: Except for where she was. DUCKY: Maybe you haven't asked the right questions. TONY: Well, she's eight and blind, Ducky. I mean, it's not a great help in a situation like... DUCKY: Sandy, are you thirsty? WATSON: A little bit. Can I have some water? CUT TO: INT. AUTOPSY ROOM - DAY MCGEE: Okay, I'm back in. Initiating a back trace from Watson's computer. How are you doing with the bad guy's on-board encryption?(SFX: KEYBOARDING B.G.) ABBY: It's commercial grade, so consider it cracked... right... now! MCGEE: Yes, team McGee does it again. ABBY: Why team McGee? MCGEE: No offense, I am the Special Agent. He must have switched off the audio. ABBY: Team Abby. I'm the smart one. KYLE GRAYSON: (ON MONITOR/FILTERED) If you want to scream? Scream. No one will hear you at all.(SFX: JILL CRIES B.G.) CUT TO: INT. SQUAD ROOM - DAY GIBBS: Sandy, this is really important. Can you tell us anything about the car you were driven in? SANDY: Well, it was a man and there were no windows in back. KATE: How could you tell? SANDY: Because I couldn't feel the sun on my face. GIBBS: What about the place he was keeping you and your mom? Anything unusual about it? SANDY: (CRIES) I don't know. I was real scared. But I could hear him talking to my mom and she was crying and... and he kept on pulling my hair. (SFX: PHONE RINGS B.G.) KATE: It's okay, Sandy. Just tell us what you remember. GIBBS: (INTO PHONE) Yeah, Gibbs. All right. We're on our way. (TO SANDY) Sandy, I want you to stay here with Doctor Mallard. We have to check-- SANDY: I heard! You can see my mom on your computer now. I hear lots of things other kids can't. Can I help you? CUT TO: INT. AUTOPSY LAB - DAY (SFX: TAPE OF JILL CRYING PLAYS B.G.) KYLE GRAYSON: (V.O./FILTERED) Your husband has less than two hours to make my deadline. ABBY: I'm engaging the audio filters now. There will be a slight delay with picture. KYLE GRAYSON: (V.O./FILTERED) But what he doesn't know... CUT TO: INT. SMALL ROOM - DAY KYLE GRAYSON: ...Is if he makes it or not... you're never going home. (MUSIC OUT) MUSIC IN: INT. WATSON'S OFFICE - DAY COMPUTER VOICE: Time's running out, Captain. WATSON: Look, I've been able to isolate one point eight million. If I send it now, will you release my wife? COMPUTER VOICE: How about I send you back one point eight of your wife. CUT TO: INT. MTAC ROOM - DAY COMPUTER VOICE: You want me to keep an arm or a leg? GIBBS: Captain, we need more time. You have to stall him. WATSON: (ON MONITOR) It's getting harder to find open accounts. You're going to have to give me more time. COMPUTER VOICE: You have ninety minutes. Make it, your wife lives. If you don't, she dies. It's your call, Captain. GIBBS: Negotiate, Captain. Tell him you need at least three more hours. I repeat, tell him you need another three hours. WATSON: (ON MONITOR) I'll meet your deadline. GIBBS: Oh, damn! (DOOR OPENS) TONY: Good news, boss! I found a sht of our bad guy's vehicle on the train station tapes. The little girl was right. It's a white van with no windows. GIBBS: Did you run the plates? TONY: They came back stolen. GIBBS: And this helps me because, DiNozzo? TONY: I also I.D.ed our dirt bag. I pulled his prints from Sandy's hair thingies. GIBBS: Berets. TONY: Right. He's a former Petty Officer. Name's Kyle Grayson. Did six years in Leavenworth for embezzling government funds. And Captain Watson was responsible for putting him there. GIBBS: (V.O.) Good job. CUT TO: INT. AUTOPSY ROOM - DAY KATE: We're going to play some sounds from the room that you were in, Sandy. I think it might help you remember better. SANDY: Can you just play certain Hertz if I want you to? ABBY: Sure, how did you know that? SANDY: From the piano. I know the number of vibrations of every key. Like key number forty-four, E-four, that's three hundred and twenty nine point six-three Hertz. A-five is eight hundred and eighty. My mom says I'm half bat. ABBY: Well, that's cool. I love bats. SANDY: Me, too. I like your voice, Abby. It's kind of gravelly. ABBY: Thank you. All right, are you ready to show off for us? (SFX: KEYBOARDING) KYLE GRAYSON: (ON TAPE) Lorton Amtrak Station. You've got your good faith gesture. Now get back to work. SANDY: There are birds up kind of high. Try a G-seven. The eighty-third key. That's three thousand one hundred and thirty six Hertz. KATE: That is amazing, Sandy. I'll be right back. (TO GIBBS) Gibbs, she's incredible. You've got to see her. GIBBS: I want her listening to the live feed. KATE: Gibbs, she's been traumatized enough. GIBBS: Yeah? How about growing up without a mother, Kate? (TO SANDY) Hey, Sandy. I need you to... SANDY: Listen to the live feed? I want to help my mommy, Agent Gibbs. I can take it. GIBBS: Here. SANDY: What's this? GIBBS: Your very own NCIS badge. You ready? SANDY: Yes. GIBBS: McGee, bring the live feed up on the speakers. (TO SANDY) Sandy, we need to know anything you can tell us about where he is keeping your mom. KYLE GRAYSON: (ON TAPE) When I took this job, I was instructed not to hurt you or the little princess, but your husband cost me six years! JILL: (ON TAPE) Who hired you? KYLE GRAYSON: (ON TAPE) I don't really care. The point is I've decided your husband has to pay for that. JILL: (ON TAPE/CRYING) Why? KYLE GRAYSON: (ON TAPE) No more questions.(SFX: SLAP/ CRYING) SANDY: Go to the area of A-seven. I mean four thousand Hertz. Bring it two keys down. I mean three thousand eight hundred. TONY: Sounds like a train. SANDY: It's getting closer. It's passing right... now. GIBBS: Seventeen-oh-six. What time's the next train scheduled to arrive in Lorton? TONY: I'm on it, boss. GIBBS: Can you remember anything else about the train sounds? SANDY: We drove over a lot of tracks. My mom...she... she squeezed my hand every time. GIBBS: How many times? KYLE GRAYSON: (ON TAPE) Look at me! SANDY: I don't know. A lot. (CRYING) What is he doing to her!? Why is she crying!? GIBBS: You did great. SANDY: Are you going to save my mom now? GIBBS: Oh, yeah. You can count on that. Let's roll. CUT TO: INT. SQUAD ROOM - DAY TONY: Hey, the only train in the area is an Amtrak. It left D.C. at sixteen twenty, arrived Lorton seventeen thirty, average speed of sixty five miles an hour. Now, we know it passed our dirt bag at seventeen oh-six, right? So... damn it! I owe Mrs. Powers an apology. MCGEE: Who? TONY: My tenth grade math teacher. I told her I'd never be able to use anything she taught us in real life. MCGEE: It's here. Seven miles outside of Lorton. TONY: There's an abandoned train maintenance yard about a half mile north-- GIBBS: That's the place. McGee, you tell Watson to delay sending the money. MCGEE: Well how? GIBBS: Any way you can. Come on! Let's go! Now! CUT TO: INT. WATSON'S OFFICE - DAY COMPUTER VOICE: Five minutes left. Tell me you have the two million, Captain. WATSON: I have it. COMPUTER VOICE: Stand by to copy the ISP routing number. ISP is C-S-dot-C-N-dot-B-C-N. Read it back to me. WATSON: C-S-dot-C-N-dot-A-C-N. Beijing? CUT TO: INT. AUTOPSY LAB - DAY COMPUTER VOICE: Very good, Captain. CUT TO: EXT. STREET - DAY (SFX: CAR TIRES SCREECH AS GIBBS DRIVES THROUGH THE STREETS TO THE TRAIN STATION) (MUSIC OVER ACTION/AGENTS APPROACH THE TRAIN CAR) GIBBS: McGee, talk to me. MCGEE: (V.O./FILTERED) Okay he's giving... CUT TO: INT. AUTOPSY LAB MCGEE: Watson a wire transfer code. Do you have a visual yet? GIBBS: (V.O./FILTERED) Negative. CUT TO: EXT. TRAIN STATION - DAY GIBBS: Tell the Captain he has to stall for more time. CUT TO: INT. AUTOPSY ROOM MCGEE: Captain Watson, you have to buy us a few more minutes. I repeat, you have to buy us a few more minutes. CUT TO: EXT. TRAIN STATION MCGEE: (V.O./FILTERED) He's not listening to me. GIBBS: Tell him the second he transfers that money, his wife is dad. CUT TO: INT. AUTOPSY ROOM - DAY MCGEE: Captain Watson... CUT TO: INT. WATSON'S OFFICE - DAY MCGEE: (V.O./FILTERED) ... Your wife is going to be mrder-- (SFX: FEEDBACK) CUT TO: INT. AUTOPSY ROOM - DAY MCGEE: Ow! Okay, Gibbs. He took out the earwig. CUT TO: EXT. TRAIN STATION - DAY MCGEE: I've got nothing, boss. CUT TO: INT. WATSON'S OFFICE - DAY COMPUTER VOICE: The routing number is A-one-two-one-three-six-six-nine-B-one. Read that back to me. WATSON: A-one-two-one-three-six-six-nine-B-one. COMPUTER VOICE: That's correct. Now make me rich. WATSON: And I have your word you're going to release my wife? COMPUTER VOICE: Yes, my word. CUT TO: INT. ROOM - DAY (SFX: MUFFLED SHOUTS B.G.) KYLE GRAYSON: Now send it! CUT TO: INT. AUTOPSY ROOM - DAY (SFX: KEYBOARDING B.G.) ABBY: He's sending the money to Asia. If I can tag his transmission with a marker we might be able to follow it. MCGEE: Gibbs, he sent it. I think he's going to sht her. What do I do? CUT TO: EXT. TRAIN STATION - DAY GIBBS: Something, McGee! Anything! CUT TO: INT. TRAIN CAR - DAY MCGEE: (V.O.) This is the FBI, Grayson. We have you surrounded. Come out with your hands in the air. KYLE GRAYSON: What the hell? MCGEE: (V.O.) You didn't really think you'd get away with this? CUT TO: EXT. TRAIN STATION - DAY (SFX: gn B.G.) GIBBS: You two inside. I'll cut him off. We take him alive. CUT TO: INT. TRAIN CAR - DAY KYLE GRAYSON: Come on, let's go! Come on! Go! CUT TO: INT. BOXCAR - DAY KATE: Clear. CUT TO: INT. TRAIN CAR - DAY KYLE GRAYSON: Move! (SFX: gn) (MUSIC OVER ACTION) (DOOR OPENS) KYLE GRAYSON: Come on! You come any closer and I'll sht her! Come out where I can see you! Now! TONY: Just like in Colombia. KATE: You're not getting out of here, Grayson! It's over! KYLE GRAYSON: I know the FBI's S-O-P. I want a cell phone and negotiator now! GIBBS: We're not the FBI, dirt bag. TONY: Drop the wapon! (KYLE GRAYSON PUTS THE gn ON THE GROUND) (JILL RUNS FROM THE TRAIN CAR) MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY WATSON: Everything's going to be all right now, sweetheart, everything. KATE: Kind of makes you think. TONY: About what? KATE: Having kids someday. TONY: Yeah, I don't think I could handle that. WATSON: I don't know how we could ever thank you, Agent Gibbs. JILL: We owe you so much. GIBBS: Thank Special Agent Watson here. We couldn't have done it without her. Thanks. (WATSONS WALK O.S.) KATE: We did good today, Gibbs. GIBBS: Did we, Special Agent Todd? Grayson doesn't have the smarts to be in this alone. We still have to find out who hired him. TONY: Not going to get it from Grayson. KATE: Why not? Get him to roll for a deal. GIBBS: I don't deal. KATE: He doesn't deal? GIBBS: Not when Grayson doesn't know who hired him. MCGEE: (V.O.) This guy's good. CUT TO: INT. AUTOPSY LAB - DAY MCGEE: We lost the money for a little while in Hong Kong. ABBY: But McGee's bots picked it up on the transfer to Zurich. MCGEE: And with Abby's' encryption algorithm imbedded in the transaction it's just-- GIBBS: Look, just for a second... just pretend I don't know anything about computers. ABBY: Pretend? GIBBS: Can we get this guy or not? MCGEE: Well, we've been following the money for the last eight hours. And if it transfers into a country where we have juris.... Wait, I don't believe this. GIBBS: What? MCGEE: It's headed back here. ABBY: Washington, D.C. MUSICAL BRIDGE TO: INT. BANK - DAY (MUSIC OVER ACTION/WATSON WALKS FROM THE BANK TO THE CORRIDOR) GIBBS: Captain Watson? WATSON: Agent Gibbs. This is not what you think. GIBBS: You're right. It wasn't. KATE: You did this to your own family? WATSON: No, nobody was supposed to get hurt. (SFX: TONY CUFFS WATSON) TONY: Is that tight enough for you, Captain? WATSON: I cannot believe this is happening! It was the perfect plan. Even Grayson didn't know who hired him. How the hell did you figure this out? KATE: Next time you might want to send your note to the FBI. WATSON: Look, you've got to understand. I needed the money because... (GIBBS THROWS GRAYSON UP AGAINST THE WALL) GIBBS: Don't you dare tell me that there's a reason for you throwing away what you had. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY MCGEE: Your network is up and operational now. So I'll be heading back to Norfolk. (bat) I'll take that as a thank you. GIBBS: McGee, where are you going? MCGEE: Uh... Norfolk. GIBBS: Well, I've got some good news and some bad news for you. You've just been promoted to a full time field agent. MCGEE: Really?! That's incredible! What'd-- GIBBS: You belong to me now. KATE: Congratulations. TONY: Yeah. What she said. MCGEE: So I'm one of you guys now, right? No more... no more getting coffee. No more hazing. KATE AND TONY: Sure. MCGEE: Right. Uh... well I just want to say uh...that I never took it personal and I really look forward to-- (KATE AND TONY h*t MCGEE IN THE HEAD AND WALK O.S.) TONY: You know, I could really get used to that. (SFX: AIR CONDITIONING VENTS OPEN) (SFX: SIGHS OF RELIEF B.G.) (ENDING CREDITS UP AND OUT) (FADE OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x01 - See No Evil"}	foreverdreaming
FADE IN: EXT. YARD - DAY (SFX: TRACTOR MOVES DIRT) (SFX: STEADY BACKUP BEEP TONE B.G.) FOREMAN: Hey, Harry! Stop! Stop! DRIVER: (V.O.) Hey, what's up? FOREMAN: Throw me a flashlight. (SFX: FOREMAN GASPS) (CUT TO BLACK) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) FADE IN: EXT. YARD - DAY "THE GOOD WIVES CLUB" WILLIS: Agent Gibbs? GIBBS: Yeah. WILLIS: Lieutenant Commander Willis, Base Security. GIBBS: Commander Hutchins' day to play golf? WILLIS: Intestinal virus. GIBBS: Ah, Special Agent Todd, McGee, DiNozzo. How long since anyone's lived in these units? WILLIS: Base closed the tract five years ago. Plans were to convert it to a park. Cutbacks put it on hold. The units were becoming a security and health hazard. We brought in a private company to demo it. TONY: When Gibbs introduced us, he introduced you, then McGee, then me. Why did he mention me last? KATE: You are kidding. TONY: No, for Gibbs to mix up the seniority order like that... it just, you know, it just seems weird, that's all. MCGEE: I really don't think it really means... TONY: Probie? KATE: I wouldn't put too much stock in it. TONY: Why do you say that? KATE: Well, because I don't think it has anything to do with seniority. TONY: What do you think it has to do with? KATE: My guess would be level of intelligence and general competence. MCGEE: I didn't say anything. TONY: It's what you're thinking, Probie. WILLIS: Soon as we knew what he had, all work was stopped, we contained the scene. GIBBS: Old bunker? WILLIS: We don't know what it is. (PASSAGE OF TIME) GIBBS: Move it more left. Your other left, McGee. MCGEE: Sorry, boss. TONY: (V.O.) Little nervous, Probie? GIBBS: Whoa! Hold it right there! The tunnel leads to the house. CUT TO: INT. HOUSE - DAY (DOOR OPENS) (MUSIC OVER ACTION/GIBBS AND TONY SEARCH THE HOUSE) (DOOR OPENS) TONY: That's a little weird.(SFX: TONY SNIFFS) (TONY REMOVES THE VENT COVER/ TRAP DOOR ) TONY: Boss, over here! GIBBS: Kate, McGee, you're with me. DiNozzo, wait for Ducky. CUT TO: INT. UNDERGROUND ROOM - DAY (MUSIC OVER ACTION/GIBBS MOVES THROUGH THE ROOM) GIBBS: Let's do it. (MUSIC OVER ACTION/ KATE AND GIBBS EXAMINE THE ROOM) (SFX: CAMERA SHUTTER CLICKS B.G.) GIBBS: Nails were hammered in at a left to right angle. Might have been left-handed. MCGEE: Ever seen anything like this before, Boss? GIBBS: Only in the movies. CUT TO: INT. HOUSE - DAY DUCKY: Where's our bride, DiNozzo? TONY: Nine feet down, twelve feet over. PALMER: You're kidding, right? CUT TO: INT. UNDERGROUND ROOM - DAY DUCKY: This actually reminds me of my days at Edinburgh Medical College. TONY: You used to go through a tunnel to get to school, Ducky? DUCKY: No, the morgue was tiny. Yea, we had a fellow student who suffered terribly from claustrophobia. Constantly hyperventilating. (V.O.) Yes, one day he decided to overcome his fear. Yeah, he shut himself in one of the morgue drawers. Well, the ventilation was awful, of course. He asked us not to disturb him for twenty four hours. (ON CAMERA) We were very impressed with his gumption. TONY: Did it work? DUCKY: Unfortunately not, no. He died of a massive coronary. So you see, people can be frightened to death. (SFX: CAMERA SHUTTER CLICKS) GIBBS: Hey, Duck. TONY: This is really sick. Stephen King would love it. DUCKY: Oh, my dear. Let's get you out of this place... into somewhere more appropriate, I promise. PALMER: That was really nice, Doctor. DUCKY: Thank you, Mister Palmer. Now if you'll give me the bag for transportation. PALMER: It's in the....truck. DUCKY: I know. Next time you'll remember. PALMER: Oh. KATE: (READS) "The Good Wife's Guide. Ten Steps to Pleasing Your Husband." MCGEE: I think I read something like that in Redbook. TONY: Redbook? MCGEE: Yeah. TONY: You read Redbook? MCGEE: Yeah, all the time. KATE: Well, I don't think you read this one, McGee. It's from May, nineteen fifty five. GIBBS: How long's she been here, Duck? DUCKY: Oh, it's hard to say, Jethro. Poor thing's been dad for months. GIBBS: How about years? DUCKY: Perhaps one. Not more than two. GIBBS: Housing's been abandoned for five years. DUCKY: Well, then she wasn't the last tenant. GIBBS: Check it anyway. (SFX: DIRT CRUMBLES) CUT TO: INT. SQUAD ROOM - DAY KATE: The last tenant in that house was Lieutenant Commander Carlton Halpin, his wife and two children. Moved out January of ninety nine. Transferred to the San Diego Naval Station. As far as we can tell he's never been back. GIBBS: McGee? MCGEE: All the materials used in the construction of the bunker could have been purchased at any Lowe's in the area. GIBBS: DiNozzo? TONY: `A lot of the furniture in the room is authentic Fifties. Not my taste, but what the hell. (bat) All from various manufacturers. Nothing in production today. The way I figure it, he would have had to have collected the pieces from antique shops or garage sales. KATE: What about the possibility they were handed down from family? TONY: Yeah, I was getting to that. There is, of course, always the possibility that the pieces had been handed down from family members. The point is either scenario is not a road that is easily traceable. (bat) Question for you, Probie. Redbook. Why? MCGEE: Redbook was and still is the definitive magazine for today's young woman. TONY: You planning a sex change? MCGEE: No. Since I've always been interested in women, I figured the best way to know about them was to, you know, know about them. TONY: McGee, the best way to know about them is to know them. CUT TO: INT. AUTOPSY ROOM - DAY PALMER: Do you think she knew him? DUCKY: It's difficult to say. She could have been lured by a confident or grabbed by a stranger. The result, unfortunately in the case of so many women, is the same either way. Is your recorder on? PALMER: Do you want it to be on? DUCKY: No, do you want it on? PALMER: Well, it helps me to be more accurate in my report. DUCKY: Well then turn it on. PALMER: It is on. DUCKY: Then why didn't you just say so. PALMER: I... I'm not sure. DUCKY: The victim is a Caucasian woman, twenty to twenty-five. Cause of death can be attributed to non-specific asphyxiation. No obvious signs of sexual trauma, but due to the dehydration and mummification of tissue, it's impossible to say whether she was violated. PALMER: Yeah, but you'd think that she was though, right? I mean, all the stories that you read about. These guys... they don't keep girls down in a cellar for conversation. DUCKY: Where do you read these stories, Mister Palmer? PALMER: I... I didn't mean that I actually read them. I meant to say that... that... DUCKY: She wore a ring. PALMER: A wedding ring? DUCKY: Yeah, no doubt it was removed violently. Mister Palmer, what stories? CUT TO: INT. NCIS LAB - DAY GIBBS: What do you have, Abby? ABBY: What don't I have, Gibbs? Clothing fibers, carpet fibers, dust, beetle parts, soiled bedding. There's even a pamphlet called "The Good Wives Guide." What's up with that? GIBBS: Ask McGee. ABBY: McGee? GIBBS: McGee. ABBY: Really. GIBBS: The dress, Abby. ABBY: As you might imagine, it's not exactly virginal. It was made in nineteen fifty-two. She'd been wearing it for months before she died. And I'm running a DNA sample as we... GIBBS: Prints? ABBY: All over the room! Thanks to our semi-mummy, I was able to get a match for our victim. Your crack team is running them A-FIS. GIBBS: Only prints in the room were hers? ABBY: Yeah, I'm afraid so. I found traces of cleanser on the furniture. GIBBS: He's cautious. ABBY: So am I when I chain guys up. CUT TO: INT. SQUAD ROOM - DAY KATE: Victim is Carolyn Figgis. Petty Officer Third Class, twenty two. Went missing eighteen months ago. TONY: I pulled the file, Boss. It was a Pacci case. Didn't have much. She left for work one morning and poof! Gone! No witnesses. Case went cold. GIBBS: Yeah, well it just got hot again. MCGEE: Ducky estimates she's been dad about a year. That means she was in the bunker for six months before she died. TONY: That rules out the last tenants. GIBBS: Kate? Tell me about our kller. KATE: The basic pathology is obvious. He was probably abused as a child. Dad beating on mom. One or both beating on him. Who knows? MCGEE: He's trying to create the perfect relationship. KATE: That's right. Control is the name of the game. TONY: This one didn't live up to his expectations. KATE: Why was I sure you'd understand that part? GIBBS: So he cut off her air supply, left her in an airtight chamber to die, and moved on. KATE: Yeah, that's the problem. This kind of pathology is driven. He's not going to stop until he finds the perfect one. GIBBS: He's playing house with somebody else out there. CUT TO: INT. BUNKER - DAY (CAMERA ANGLE CLOSE ON BRIDE) (MUSIC UP AND OUT) FADE IN: INT. NCIS GARAGE - DAY GIBBS: Something's off. KATE: Gibbs, I recreated it from McGee's photos. Gibbs, everything in here was A-L-S'd. All pertinent forensic evidence was sent to Abby for analysis, and then I rebuilt it from the photos. (bat) This room and everything in it is exactly as it was when we found it. (SIGHS) (GIBBS STRAIGHTENS THE LAMP) GIBBS: What is with his Fifties thing? KATE: The Fifties represents an idealized time when the rules between men and women were simpler. GIBBS: This was an older guy. KATE: Actually, I think he was younger. As Tony said, a lot of the stuff in here is authentic Fifties, but a lot of it isn't. Some is Sixties. Some are reproductions. But it isn't pure. GIBBS: He couldn't get his hands on the real deal. KATE: I don't think it mattered. I think he put this room together based on his idea of a fantasy, rather than some remembrance of an ideal experience. GIBBS: Someone who grew up with it would be more pure? KATE: Well, I think he'd want be as close to what he actually experienced as possible. Plus he didn't seem to have a problem with just picking up and leaving everything behind. GIBBS: How do we know that he didn't have to leave? KATE: Transferred. It's possible. GUARD: Ducky said her wedding ring was removed. KATE: Well, it makes sense that would be the one thing that he keeps in common from one bride to the next. You know, it might help if I could observe a re-enactment of the victim's life inside the chamber. GIBBS: Put someone in a wedding dress. KATE: Tony would look cute. GIBBS: Nope. Off interviewing the victim's parents. KATE: Well, McGee then. GIBBS: No. McGee's with Tony. KATE: Abby? GIBBS: No, up to her tats in forensics tests. KATE: Well what about you? (LONG bat) You won't have to wear the dress. CUT TO: INT. CAR - MOVING (SFX: ROCK MUSIC PLAYS ON THE RADIO) TONY: I hate that song, McGee.(SFX: RADIO CLICKS OFF) MCGEE: I thought you bought tickets to see them next week. TONY: I changed my mind. I'm selling them on eBay. MCGEE: Oh. Well, could we listen to something else? TONY: Sure. (SFX: COUNTRY MUSIC PLAYS B.G.) MCGEE: This isn't about music, is it? TONY: This what? MCGEE: Whatever it is that isn't music. TONY: This is your conversation, McGee. MCGEE: Tony, I'm not after your job. TONY: (CHUCKLES) Do you think I'm actually worried about you taking my place, Probie? MCGEE: No, I mean of course not. How could I be? You're Gibbs' right hand guy. TONY: Did Gibbs say that? MCGEE: Uh...not... not directly. TONY: Then why did you say that? MCGEE: Well, because I've heard him say nice things. TONY: What kind of things? MCGEE: I - I don't remember. TONY: Remember. MCGEE: Um... okay. Uh... yesterday. TONY: Yeah? MCGEE: Yeah, he uh... said something about filing your case report. TONY: Well, what did he say exactly? MCGEE: He said it wasn't late for once. CUT TO: INT. GARAGE - DAY KATE: This is not what I had in mind, Gibbs. GIBBS: You wanted a re-enactment. Re-enact. KATE: I wanted to observe. GIBBS: I'm observing. KATE: Okay. She can make it to the toilet, but she couldn't make it to the threshold of the tunnel. CUT TO: INT. BASEMENT - FLASHBACK KATE: (V.O.) I can't imagine what she must have gone through, Gibbs. How many months did she suffer before giving up and realizing she was never going to be found, that no one was ever going to hear her screams. She had nothing left to do but sit and stare at her own reflection. SWISH PAN TO: INT. GARAGE - DAY ` GIBBS: Hmm. KATE: What? GIBBS: The rug. The spots. KATE: Someone was standing there over and over again. GIBBS: Mm-mm. The pattern's wrong. It's not from a shoe or foot. It's too round - too large. She wasn't standing. She was kneeling. KATE: Enough to permanently wear an indentation in the carpet. GIBBS AND KATE: (IN UNISON) Praying. CUT TO: INT. NCIS LAB - DAY ABBY: (V.O.) Polopinus Ingens. Commonly known as the Darkling Beetle. As with all beetles, (ON CAMERA) the Darkling has two sets of wings. One set of hard front wings and a set of soft hind wings used for flying. GIBBS: This is going to be useful, Abby, why? ABBY: Gibbs, I know you know that I need a good windup before I deliver my knock-out. GIBBS: Just ht me with it, baby. ABBY: Okay, this particular species of Darkling is indigenous only in extreme Southeast Georgia and Northeast Florida. GIBBS: What's it doing in Virginia? ABBY: My guess? Somebody stepped on it. A piece of it got lodged in the shoe, and then it dislodged in Mister Sicko's love nest. Very "Silence of the Lambs," don't you think? CUT TO: INT. SQUAD ROOM - DAY TONY: Our nasty little critter could have called any one of three Navy bases home; Jacksonville Naval Air Station, or Mayport Naval Station in Florida, Naval Submarine Base Kings Bay, in Georgia. KATE: We have a piece of a beetle that shouldn't be in Virginia. It doesn't mean that the guy who did this is there now. GIBBS: Didn't say it did. MCGEE: Well, she's right, boss. I mean, he could've just been there on vacation, who knows. GIBBS: Could've been. TONY: He still could be here. MCGEE: Except nobody else is missing from Norfolk. Somebody is from Jacksonville. She fits the profile. NCIS Agent Jane Melankovic forwarded a missing person's report she filed on a female Petty Officer, Barbara Swain, Petty Officer Second Class at Jacksonville. She's been missing for almost four months. KATE: She's close in age to Carolyn Figgis, similar look. MCGEE: Same deal, too. Disappeared off the face of the earth. Never made it to work. No witnesses. No clues. Case went dad. GIBBS: Get us on the next flight to Jacksonville, and tell Agent Melankovic we think her victim might still be alive on base. TONY: On it, Boss. KATE: Pretty thin, Gibbs. GIBBS: All we got, Kate. CUT TO: EXT. NAVAL BASE - DAY MELANKOVIC: The Seahawk is still searching for thermal anomalies ... CUT TO: INT. NCIS COMM ROOM MELANKOVIC: ... on the ground surface. TONY: We've been sweeping for a long time, Agent Melankovic. MELANKOVIC: At this altitude, they're working a hundred and fifty foot swatches. It's time consuming, but more accurate. KATE: Hungry again, Tony? TONY: Actually, no, Kate. I ... I'm just bored. I had something to eat on the plane. I'm not sure what I ate, but it was filling. MCGEE: You had the Chicken Singapore with port mushroom sauce. TONY: Something you read in Redbook, McGee? MCGEE: Ladies Home Journal, actually. MELANKOVIC: The Food and Home section? MCGEE: Yeah, that's right. MELANKOVIC: The best. MCGEE: Oh, no question. MELANKOVIC: McGee, right? MCGEE: Timothy. MELANKOVIC: Jane. TONY: Me, Tony. (VOICE OVER RADIO B.G.) MELANKOVIC: Oh, looks like they're picking up a thermal signature. It's warm. Warm is good. CUT TO: EXT. HOUSING PROJECT - DAY (MUSIC OVER ACTION/ CARS BRAKE TO A STOP) (AGENTS RUSH FROM THE CARS TO THE HOUSE) CUT TO: INT. GARAGE - DAY BAUM: Whoa, don't sht! Don't sht! Please don't sht! CUT TO: EXT. GARAGE - DAY TONY: Petty Officer Third Class Darrel Baum. MCGEE: Works in Avionics. TONY: Claims he was growing it for his own personal use. GIBBS: What do you think? TONY: Well, there's over two hundred plants, Boss. Got to think he's spreading the love, and I'm pretty sure Darrel's cutting into his profit margin. GIBBS: There's nothing here. TONY: Doesn't look like it. Says he started over three months ago. Size of the weeds indicates that would be about right. KATE: And you know this because? TONY: Of my experiences with the Baltimore P.D. Drug Task Force. GIBBS: You were never on the Baltimore P.D. Drug Task Force. TONY: I have friends. We shared experiences. MCGEE: Actually, Darrel does seem to be on the level, Boss. GIBBS: Oh, and you know this why, McGee? From personal knowledge? MCGEE: No, no no no. I mean, you know, there was occasional innocent youth, you know, experiences, of course. M.P.: (OVERLAP) Commander Spencer would like to see you, Sir. TONY: Let me guess, you never inhaled. MCGEE: I inhaled. TONY: Yeah? MCGEE: Yeah. Once, a little bit. TONY: How was it? MCGEE: Didn't like it. KATE: You didn't like it? MCGEE: No. KATE AND TONY: (IN UNISON) He didn't inhale. SPENCER: All four hundred twenty three houses have been analyzed, Agent Gibbs. No heat signatures other than this one have been recorded. Okay with you if I recall the helo? (SPENCER WALKS O.S.) KATE: What now, Gibbs? GIBBS: Well, I guess we just give up, Agent Todd. CUT TO: INT. CHAMBER - DAY (CAMERA CLOSE ON BARBARA SWAIN) (MUSIC OUT) FADE IN: INT. OFFICE - DAY ABBY: (V.O.) sht the forensics wad on our mummified bride. Except for the prints, nothing in the underground chamber is really speaking to me. The carpet fiber indicates a (ON MONITOR) cheap nylon product available anywhere. Analysis of the accumulated dust only indicates that our sicko mrder ... CUT TO: INT. LAB - DAY ABBY: (ON MONITOR) ...Wasn't any better a housekeeper ... CUT TO: INT. OFFICE - DAY ABBY: (V.O.) ...Than he was a pretend husband. GIBBS: The clothes fibers. ABBY: White cotton, probably socks. And purple silk. (ON CAMERA) Don't know what that's about. CUT TO: INT. LAB - DAY ABBY: Maybe a scarf or an ascot kind of thing. CUT TO: INT. SQUAD ROOM - DAY KATE: How many guys wear ascots today? TONY: I have. KATE: You would. GIBBS: Okay, thanks, Abs. ABBY: (ON MONITOR) Oh, anything for you, oh wonderful wizard. (V.O.) By the way, Tony? TONY: Yeah? CUT TO: INT. LAB - DAY ABBY: I need it back when you're done. MELANKOVIC: Files you requested. All the transfers from Norfolk over the past six months. GIBBS: Put them over there, Agent Melankovic. Hey, we appreciate the use of your desk. MELANKOVIC: Not a problem. Finding everything all right? GIBBS: Yeah, DiNozzo there sure found the nuts without much trouble. TONY: I haven't eaten since the plane. I hope you don't mind. MELANKOVIC: I do, actually. They're for my sister. TONY: Oh, I'm sorry. But probably for the best. So fattening. I'm sure you know that from all your food magazine reading. MELANKOVIC: She's anorexic. GIBBS: According to the missing person's report, the last person to see Petty Officer Swain was her roommate. MELANKOVIC: That's right. Petty Officer Debra Marshall. GIBBS: Is she still on base? MELANKOVIC: Mechanic in Motor-T. GIBBS: All right, Kate, you're with me. DiNozzo, you're with McGee. TONY: McGee, yeah. GIBBS: Help her with the transfers. MELANKOVIC: Agent Gibbs, I did the initial interview with the roommate. GIBBS: Yeah. I know. CUT TO: EXT. MOTOR POOL - DAY KATE: Petty Officer Marshall? MARSHALL: Yeah? KATE: NCIS. MARSHALL: Is it about Barbara, Ma'am? KATE: Yes. MARSHALL: Have they found her? KATE: No. GIBBS: You don't expect her to be found alive? KATE: I was told the odds get worse the longer a person goes missing, Sir. GIBBS: Well, yeah. That's true. KATE: Agent Melankovic might have gone over this ground with you before, but... MARSHALL: No problem, Ma'am. GIBBS: You last saw your roommate when she left for work four months ago. MARSHALL: It was zero six hundred, Sir. She worked here in Admin. That's how we met. KATE: Was there anyone acting strange around her? Any arguments or disputes you might know about? MARSHALL: No, Ma'am. Everybody liked Barbara. GIBBS: Even likeable people have beefs. So I'm told. KATE: Was there anything particular on her mind at the time? MARSHALL: Nothing other than what was always on her mind. KATE: Guys. MARSHALL: She was hung up that she couldn't find the right one. GIBBS: She wanted to get married? MARSHALL: In the worst way, Sir. Except all the guys she met were losers. She thought something must be wrong with her. Even mentioned she might even see somebody about it. KATE: Did she? MARSHALL: I don't know. She was a really private person. GIBBS: Did you ever meet any of the losers? MARSHALL: No, Sir. I couldn't even tell you their names. I doubt Barbara could either. CUT TO: INT. SQUAD ROOM - DAY KATE: C.P.O. Alan Drewe. Transferred from Norfolk two months ago. Left-handed. Father was a drywall subcontractor. He could have built the bunker. MCGEE: Captain Marshall Buckner. Right handed but heads up a SeaBee crew, and has a domestic disturbance charge on his record. Transferred last May. TONY: (READS) Always respond enthusiastically to your husband's amorous advances. It's a wife's duty to make sure his physical needs are met. You know, except for the mrder/abduction part, I kind of think this guy's on to something. MELANKOVIC: I can't believe you just said that. TONY: Why? MELANKOVIC: It's sexist and insensitive and what the hell does it have to do with our investigation. Do you know, Timothy? TONY: Answer Jane, Timothy. MCGEE: The real question is, do you find it pertinent? TONY: Every bit as pertinent to this investigation as those files, Probie. MCGEE: It is? TONY: It speaks to the suspect's state of mind. MCGEE: Tony, with all due respect, it speaks more to yours... TONY: With all due respect, Probie, how much time do you have in the field? MCGEE: Not a lot, of course. TONY: Exactly. Because you're a probationary field agent. I know it can be confusing sometimes. MCGEE: I'm actually not confused. TONY: You just think you're not confused. In reality you're very confused and that contradiction is what makes the whole situation seem... um... more... um... MCGEE: Confusing? TONY: Exactly. CUT TO: EXT. HOSPITAL - DAY KATE: Just because she didn't see a Navy therapist doesn't mean she wasn't seeing someone off base. GIBBS: She's a Petty Officer. Civilian shrinks are expensive. KATE: Private people go to long lengths sometimes. GIBBS: Sometimes. Sometimes they don't have to. KATE: Bit's in your mouth, Gibbs. GIBBS: She didn't have to see a shrink. KATE: Okay. GIBBS: Second divorce. I saw the Padre. KATE: Chaplains don't keep records. CUT TO: INT. CHAPEL - DAY EVANS: Yes, I saw her. Only once, though. KATE: We know that whatever you discuss is confidential, but her life could hang in the balance. GIBBS: What happened to the woman at Norfolk could be happening to her. EVANS: Petty Officer Swain didn't say much. In fact, I did most of the talking. KATE: What were her issues? EVANS: She was attracted to men who fulfilled her needs on a physical level but not a spiritual one. And I tried to make her see they didn't need to be mutually exclusive. A difficult concept in today's world. GIBBS: Did she mention any of those men by name? EVANS: No, she met them in bars. I got the impression they weren't around very long. She was supposed to call and make another appointment. Never did. CUT TO: INT. SQUAD ROOM - DAY MCGEE: This one is not left-handed either, but everything else fits. (SFX: PHONE RINGS) TONY: (INTO PHONE) DiNozzo.(BEGIN TELEPHONE INTERCUTS) GIBBS: (V.O./FILTERED) How's it going with the transfers? TONY: (INTO PHONE) Uh... almost finished, Boss. We've I.D.'d fifteen that fit a substantial part of the profile. (SCENE CUT) GIBBS: (V.O.) Good. (SCENE CUT) GIBBS: (V.O./FILTERED) Put down... (SCENE CUT) GIBBS: (INTO PHONE) "The Good Wife's Guide" (SCENE CUT) GIBBS: (V.O./FILTERED) ...and listen up. Padre... (SCENE CUT) GIBBS: (INTO PHONE) ...thinks Petty Officer Swain could have met this guy at a local bar. Split up and canvas the area. (SCENE CUT) TONY: (INTO PHONE) See if a bartender can make a connection to one of them? I'll make copies of their service photos. (SCENE CUT) GIBBS: (INTO PHONE) DiNozzo? (SCENE CUT) TONY: (INTO PHONE) Yeah? (SCENE CUT) GIBBS: (INTO PHONE) Make the copies yourself. (END TELEPHONE INTERCUTS) CUT TO: INT. SQUAD ROOM - DAY TONY: (INTO PHONE) Of course. CUT TO: INT. COPY ROOM - DAY GIBBS: (V.O./FILTERED) Are you sure about this, DiNozzo? TONY: All in his S.R.B, Boss. Left-handed. Transferred six months ago.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) From where? (SCENE CUT) MELANKOVIC: Norfolk. MCGEE: Boss, you remember what Abby said about the clothes fibers? (SCENE CUT) MCGEE: (V.O./FILTERED) Chaplains sometimes wear a vestment called a... (SCENE CUT) MCGEE: (INTO PHONE) ... stole over their uniform. It's a band of silk cloth hung around the neck. (SCENE CUT) GIBBS: (INTO PHONE) Silk? (SCENE CUT) MCGEE: (INTO PHONE) The color of the stole depends on the liturgical season. It can be red, or green, or white... (SCENE CUT) GIBBS: (INTO PHONE) Or purple!(END TELEPHONE INTERCUTS) (SFX: CAR TIRES SCREECH) KATE: It wasn't Petty Officer Carolyn Figgis who was praying, was it? GIBBS: Nope. CUT TO: EXT. CHURCH - DAY (SFX: CAR BRAKES TO A STOP) CUT TO: INT. CHURCH - DAY (MUSIC OVER ACTION/ EVANS PRAYS IN THE PEW/ GIBBS AND KATE ENTER THE CHURCH) (DOOR OPENS) (SFX: gn) CUT TO: INT. CHAMBER - DAY (SFX: CAMERA CLOSE ON SWAIN) (MUSIC OUT) FADE IN: INT. CHURCH - DAY SPENCER: After your interview he must have sensed that it was just a matter of time. GIBBS: What do you know about him, Commander? SPENCER: Not much. He was Episcopal. I'm Catholic. Only time I ever met him was at the Navy Ball. He seemed normal to me. GIBBS: Yeah. Usually do. SPENCER: The Medical Examiner's on the way. I'll get the search helo back in here. KATE: I wonder what Ducky would say to this piece of work. GIBBS: He'd ask Evans where he's keeping Petty Officer Swain. CUT TO: INT. CHAPLAIN'S QUARTERS - DAY JOHN: (ON TV) I think I'm going to get married. OZZIE: John says he's going to get married! DARB: That's great! OZZIE: Oh, that's wonderful, John. JOHN: You're the one who convinced me, Oz. Why this delightful home, wonderful family, devoted wife. Ah, this is the way a man should live. I didn't realize what I'd been missing all these years. OZZIE: Oh, look at that. MCGEE: What are you watching? TONY: Ozzie and Harriet. Ran for fourteen years. Four hundred and thirty five episodes. MCGEE: Why am I not surprised you would know that? TONY: I have the "best of" boxed set at home. It's really good. Where did you find those? MCGEE: I found them stashed under the settee. TONY: The settee? MCGEE: It's a small sofa with seating for two. I sold mine at a garage sale last year. Are you gonna watch the whole hour or..? TONY: They were half hour, McGee. And what if I do? MCGEE: I guess that would mean you're trying to figure the suspect's state of mind. TONY: We're going to make a field agent out of you yet, Probie. MELANKOVIC: DiNozzo. I flipped on the light switch, look what I got. TONY: Well, it's either a darkroom, or a really small bordello, what's your call? MELANKOVIC: Have you always been a smartass, Agent DiNozzo? TONY: Tony. Probably as long as you've been an overachiever, Jane. MELANKOVIC: He might have pictures somewhere around here. To remind him. TONY: He might. Are you ready to find where Ozzie stashed Harriet? (SFX: TONY PURRS) CUT TO: EXT. NAVAL BASE - DAY SPENCER: (V.O.) The Chaplain could have hidden her in a number of places the thermal scanner wouldn't pick up. CUT TO: INT. SPENCER'S OFFICE - DAY SPENCER: We've got unoccupied housing, training and maintenance units as well as boiler rooms here and here. Base housing storage is another possibility. Several abandoned amo dumps in this quadrant, abandoned amo bunkers in this one here. Jacksonville N.A.S. is almost four thousand acres with hundreds of buildings. It'll take us days to search them all. GIBBS: Then we'd better start now. SPENCER: How much time does she have? GIBBS: If he's cut off the O-two like he did the others, a few hours. CUT TO: INT. EVENS' QUARTERS - DAY MCGEE: (READS) My darling, my betrothed. I long for the day we will be together always." There must be more than fifty of these love letters. TONY: All sounding like Nelson Eddy recordings. MCGEE: That guy was on the air for fourteen years, singing lyrics like that? TONY: Different Nelson. Not Ozzie Nelson, Nelson Eddy. MCGEE: You have his collection, too? TONY: "The Forgotten Recordings." MCGEE: You seem to have an awful lot in common with this... (LONG bat) (TONY OPENS THE PHONOGRAPH) TONY: Uh huh.(TONY LOOKS THROUGH THE PHOTO ALBUM) TONY: Oh. She's not Petty Officer Figgis or Swain. And neither is this one. There's Figgis. KATE: God, she looks terrified. TONY: Here's Swain. Where did he hide you, Petty Officer Swain? MCGEE: I'll scan the prints, upload them to Abby. I wish we had the negatives. TONY: Probie. MCGEE: Negatives. TONY: When I was a kid I used to hide stuff in my record player. MELANKOVIC: Nice work, hotshot. CUT TO: INT. MTAC - DAY ABBY: (ON MONITOR) Some of these prints were enlarged from the negatives. I think you'll find this one very interesting. Okay, this is Petty Officer Swain's photo from the album. CUT TO: INT. NCIS LAB - DAY ABBY: Now look at the full negative. CUT TO: INT. M-TAC ROOM - DAY ABBY: (ON MONITOR) There's much more visible in the background now around the bed, and there's some sort of door to the left. GIBBS: Abs, can you blow that up... CUT TO: INT. LAB - DAY GIBBS: (V.O./FILTERED) ...And lighten it? ABBY: Oh, yeah! CUT TO: INT. M-TAC - DAY ABBY: (ON MONITOR) It's a riveted door frame. GIBBS: That's an amo bunker. CUT TO: EXT. amo BUNKER - DAY (SFX: CAR BRAKES TO A STOP) (SFX: CAR DOORS OPEN/ CLOSE) SPENCER: You're right, Gibbs. These amo bunkers are the only underground structures on the base with riveted doors. GIBBS: How many? SPENCER: Six bunkers, all with multiple corridors and up to a hundred compartments each. Some units have bar locks, others padlocks. They've been vacated so long, I couldn't get access to a master key. GIBBS: We'll need bolt cutters. SPENCER: You got them. The search dogs won't be here for another half hour. GIBBS: Can't wait. Kate, McGee, DiNozzo, take bunker two. Thanks. Melankovic, you're with me. KATE: We'll take bunker three. CUT TO: INT. BUNKER - DAY (DOOR OPENS) KATE: Clear! (ACTION CONTINUES/ KATE AND MCGEE MOVE THROUGH THE BUNKER) KATE: Clear! MCGEE: Clear! (ACTION CONTINUES) (KATE AND MCGEE CONTINUE CUTTING LOCKS / OPENING DOORS) MCGEE: Kate, I hear tapping. KATE: Petty Officer Swain?! (TO MCGEE) Open it. MCGEE: Ready?(DOOR OPENS) (SFX: WATER TAPS ON METAL B.G.) CUT TO: EXT. BUNKER - DAY GIBBS: (INTO PHONE) Bunker one is clear. What's everyone's status? KATE: (V.O./FILTERED) McGee and I are almost done, too. CUT TO: INT. THIRD BUNKER - DAY TONY: (INTO PHONE) I got a couple more, Boss. GIBBS: (V.O./FILTERED) Keep me posted. (SFX: TONY CUTS THE LOCK/ DOOR OPENS) TONY: Petty Officer Swain? Are you all right? SWAIN: Where's Brett? TONY: Well you don't have to worry about him. He's dad. You're safe now, okay? (SFX: TELEPHONE BEEP TONE) TONY: (WHISPERS/INTO PHONE) Boss, DiNozzo. I got her. Bunker two, corridor C. She's all right but-- (SFX: SWAIN SMASHES A LAMP OVER TONY'S HEAD) GIBBS: (V.O./FILTERED) DiNozzo! Tony! Tony are you there?! (MUSIC OVER ACTION/KATE AND GIBBS RUSH INTO THE BUNKER) GIBBS: Kate. SWAIN: Is it true? Brett's dad? GIBBS: Put the gn down, Petty Officer. SWAIN: We were supposed to get married. I don't think I can go on without him. GIBBS: Kate? KATE: You've done everything that Brett's asked, haven't you? SWAIN: I have. KATE: You wouldn't want to disappoint him, would you? SWAIN: No. KATE: Doesn't the guide say that the good wife must carry on in her husband's absence? Let me show you. (KATE GRABS SWAIN) SWAIN: (CRYING) Oh, god. Oh, god. Oh...(SFX: SWAIN CRIES B.G.) CUT TO: INT. SQUAD ROOM - DAY (SFX: TONY MOANS) MCGEE: How's your head? TONY: Still throbbing. You know what bongos are? MCGEE: Yeah. TONY: Well a Beatnik is playing them in my head. KATE: You finally met the perfect Fifties woman and she almost kills you, DiNozzo. TONY: She was so obedient. KATE: Yes. Scary how impressed you are by that. MCGEE: I find it hard to believe how Chaplain Evans could have such power over her. KATE: Classic Stockholm Syndrome. She formed an emotional attachment to her captor. It'll take her time, but she'll recover. GIBBS: DiNozzo, Kate, McGee. M-TAC now! TONY: DiNozzo, Kate, McGee. DiNozzo, Kate, McGee! KATE: Beatnik gone? TONY: Yeah. KATE: Cool. (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x02 - The Good Wives Club"}	foreverdreaming
FADE IN: EXT. WEST VIRGINIA FARM - DAY (SFX: CAR RADIO PLAYS B.G.) (SFX: TRACTOR DRIVES DOWN THE DIRT ROAD/ BRAKES TO A STOP) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "VANISHED" KATE: Most people tend to their personal hygiene at home. TONY: This bothers you? KATE: No, what bothers me is that it doesn't bother me anymore. TONY: I'm an acquired taste. MCGEE: Actually it's more like the Stockholm syndrome. The emotional attachment to a captor formed by a hostage, as a result of continuous stress and a need to cooperate for survival. TONY: Nice sht. GIBBS: Get the truck. TONY: Where we going, Boss? GIBBS: Smoky Corners, West Virginia. A Marine helo was found abandoned. Crew's missing. KATE: Any leads? GIBBS: You tell me... it's sitting in the middle of a crop circle. MCGEE: Abby's going to make us crazy. GIBBS: Come on, let's go! CUT TO: EXT. CORNFIELD - DAY (SFX: HELICOPTER PASSES OVERHEAD) TONY: I don't believe it. KATE: They never make it easy. TEAGUE: Lieutenant Colonel Curtis Teague... Squadron C.O., H-M-L-A one sixty seven. GIBBS: Gibbs, NCIS. Colonel, your people have contaminated the scene. TEAGUE: I'm missing two men, Gibbs. I wasn't going to sit on my ass and wait for NCIS to drive out from Washington. GIBBS: Yeah, well we're going to have to take elimination prints from all your people. TEAGUE: (SHOUTS) Stand down, men! Let NCIS do their job. (MARINES SHOUT B.G.) GIBBS: Any damage to the aircraft? TEAGUE: No, the engine checks out. Hydraulic and avionics gear are operative, fuel load's at sixty percent. GIBBS: When was your last contact with the crew? TEAGUE: They took off from New River at twenty-three hundred on a routine night proficiency flight. Were cleared to a practice area over Chesapeake Bay. Flight controller lost the transponder signal ten minutes out. Tried to make radio contact. Never got a response. I was notified a half hour later. GIBBS: How'd you find it? TEAGUE: We were organizing to launch a search and rescue mission when I got a call from the local sheriff. The farmer that owns this field discovered it just after sunrise. GIBBS: DiNozzo! TONY: Yeah, Boss. GIBBS: Sketch and sht. Kate, the cockpit. Trace evidence, bag and tag. McGee, the field. Lay out a grid. KATE: Got it. TEAGUE: We just started the air search. Hopefully we'll find them. I'm ignoring the fact that my aircraft is in the middle of a crop circle... what about you, Agent Gibbs? What are your thoughts? GIBBS: Do I think your men were abducted by aliens, Colonel? No, I don't. But I'm not going to ignore anything. I need an overhead view of the field. TEAGUE: Already took digital photos. Sergeant Ramos! RAMOS: Sir! TEAGUE: Camera! GIBBS: Who are the missing men? TEAGUE: Pilot is Captain Todd Newell. Co-pilot is Captain Patrick Barnett. Good Marines. But they're young pilots... hot shts. The two are close. They share an apartment off base. GIBBS: I'll need their officer qualification records and NATOPS jackets. (SHOUTS) McGee! MCGEE: Yeah, Boss? GIBBS: shts of the crop circle. Email them to Abby. MCGEE: Abby? Are you certain you want to do that? You know she's obsessed with the paranormal and... right. I'm on it. GIBBS: I do not want UFO freaks crawling around here, Colonel. Let's keep a lid on this. No releases to the media. TEAGUE: Agreed. (CAMERA SHUTTER CLICKS) (PASSAGE OF TIME) TONY: I should've been an aviator. These things are chick magnets. KATE: I hate helicopters. They're loud, uncomfortable and dangerous. I used to dread getting on Marine One with the President. Euu, Tony! TONY: What? KATE: You are getting way too comfortable around me. Okay, clipping your nails is one thing, but that... that is crossing the line. TONY: Come on. KATE: No, I'm serious. I have had enough of your locker room mentality. I would be upset if someone I was dating... dating took such familiarities. TONY: Well, we work together, so feel free to scratch or adjust anything you like in front of me. (PASSAGE OF TIME) CLAY: I'm always up before the sun. It's only thirty acres, but it's a lot of work. GIBBS: You didn't hear anything last night? CLAY: Nothing. How long do you think it's going to be before they get that thing out of here? I've got work to do. GIBBS: What do you think happened to your field? CLAY: You're asking me? Ask the Air Force. This ain't the first crop circle here. THOMPSON: We had one in nineteen ninety four. The Air Force investigated, but we never did get no answers. There was lights back then, too. GIBBS: Lights? THOMPSON: Lit up the sky last night. CLAY: Woke me up. It wasn't lightning... there was no thunder. Like I told you, I didn't hear anything. Just... I tried to put it out of my mind... until I discovered this. GIBBS: We may have more questions for you, Mister Clay. CLAY: I ain't going nowhere. THOMPSON: Well, I guess I should ask around and see if anybody else seen something. GIBBS: How long you been sheriff? THOMPSON: Couple years now. GIBBS: Your full time job? THOMPSON: I also run the grain and feed store. CUT TO: INT. LAB - DAY ABBY: (INTO PHONE) Whoa, McGee. You are turning me on! It's very Glastonbury, circa nineteen eighties. I mean, not quite as large or elaborate, but it's a fascinating pictogram.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (INTO PHONE) I'm not familiar with Glastonbury. ABBY: (V.O./FILTERED) Southern England. (SCENE CUT) ABBY: (INTO PHONE) Where most of the crop circles were found. (SCENE CUT) MCGEE: (INTO PHONE) Abby they're hoaxes. ABBY: (V.O./FILTERED) Yeah, but... (SCENE CUT) ABBY: (INTO PHONE) They are interesting. MCGEE: (V.O./FILTERED) Yeah, actually I put them right up there with Tarot cards and telephone psychics. (SCENE CUT) MCGEE: (INTO PHONE) I thought two farmers admitted to creating them. (SCENE CUT) ABBY: (INTO PHONE) Well, yeah, but there's been over ten thousand reported all over the world. There's no way those two did them all. (SCENE CUT) MCGEE: (INTO PHONE) Abby, nothing paranormal happened here. ABBY: (V.O./FILTERED) Yeah, there was no damage... (SCENE CUT) ABBY: (INTO PHONE) ... to the helicopter, yet the entire crew vanished. MCGEE: (V.O./FILTERED) You can't.... (SCENE CUT) MCGEE: (INTO PHONE) ....Take crop circles seriously. You're a scientist. There's a logical explanation. ABBY: (V.O./FILTERED) Listen to me, McGee. (SCENE CUT) ABBY: (INTO PHONE) I need pictures, and lots of them. And specimens of stalks down to the roots. (V.O./FILTERED) And a core sample of soil at least twelve inches. (INTO PHONE) And make sure you get a control sample from outside the circle. MCGEE: (V.O./FILTERED) Abby... (SCENE CUT) MCGEE: (INTO PHONE) We're looking for two missing Marines. ABBY: (V.O./FILTERED) Come on, McGee! (SCENE CUT) MCGEE: (INTO PHONE) Do it for me, please. I'll show you my new tat. (END TELEPHONE INTERCUTS) CUT TO: EXT. CORNFIELD - DAY (SFX: HELICOPTER ROTORS B.G.) TEAGUE: The replacement crew's ready to fly the Cobra back to New River. GIBBS: Go ahead. We've got everything we need. TEAGUE: You're clear to go. TONY: Do we really need all this stuff? MCGEE: I'm only following instructions. Ask Abby. GIBBS: All right. McGee and I will take the truck back. You two check out the pilots' apartment. TONY: Right. I'll try not to be too familiar, Ms. Todd. GIBBS: Hey, get the scent articles for the search dogs. TONY: Okay. MCGEE: What is it, Boss? GIBBS: I was worried about keeping a lid on this thing... where are the gawkers? Do you see any locals other than the farmer who owns this field and the sheriff? TEAGUE: Special Agent Gibbs? The Huey spotted a burnt-out area just north of here. You might want to come with us. (SFX: HELICOPTER TAKES OFF) CUT TO: EXT. brned OUT FIELD - DAY TEAGUE: Do you think this has something to do with my crew? GIBBS: I don't know, but we're going to find out. We've got another scene to process. CUT TO: INT. NEWELL APARTMENT - NIGHT (SFX: DOOR CREAKS OPEN) (SFX: LIGHT CLICKS ON) TONY: So we're looking for anything that suggests they didn't just leave on a routine flight. (DOOR CLOSES) KATE: Thanks for explaining, Special Agent DiNozzo. TONY: Oh, my god! I don't believe it! Do you know what this is? This is a classic. December ninety two. Pamela's debut. I lost my copy. KATE: Lost it... or wore it out? We need to get scent articles for the dogs. (MUSIC OVER ACTION/KATE MOVES SLOWLY TO THE BEDROOM) (BARNETT GRABS KATE BY THE NECK) (DOOR CREAKS OPEN) BARNETT: What the hell are you doing in my apartment? TONY: NCIS! Let her go! (CUT TO BLACK) FADE IN: INT. OBSERVATION ROOM - DAY (DOOR OPENS/ CLOSES) GIBBS: (FILTERED) I understand you're not cooperating, Captain Barnett. BARNETT: (FILTERED) I don't know anything. It's Saturday night. I was at my girlfriend's. Got home, just getting out of the shower... CUT TO: INT. INTERROGATION ROOM BARNETT: ... And I heard someone in my apartment. GIBBS: Where is Captain Newell? BARNETT: I don't know. GIBBS: You were scheduled for a proficiency flight at twenty three hundred last night. Did you take it? BARNETT: What's the flight schedule say, Sir? GIBBS: Well, it says right here Newell and you took off from New River. BARNETT: Then we did. GIBBS: Here's how it works, ace. I ask the questions, you give direct answers. (LOUDLY) Did you take the flight? CUT TO: INT. OBSERVATION ROOM - NIGHT TONY: I think Gibbs enjoys this more than sex. KATE: That would explain the three wives. CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: Your Cobra was found abandoned a hundred and fifty miles from where it was supposed to be and Newell is missing. (SFX: GIBBS WHISPERS TO BARNETT) CUT TO: INT. OUTER ROOM - DAY KATE: What is Gibbs doing? TONY: T-B-I. KATE: Excuse me? TONY: Truth by intimidation. In five, four, three, two, one. BARNETT: (FILTERED) We were leaving for the base when Todd got a call on his cell. CUT TO: INT. INTERROGATION ROOM BARNETT: He took it into the bedroom. When he came out he was messed up. He said he wasn't feeling well and wanted to call the Squadron Duty Officer in Ops to cancel the hop. GIBBS: Who made the call? BARNETT: I don't know. GIBBS: I don't believe you, Barnett. You live together, you fly together, you fight together. You share everything. BARNETT: I thought we did. Look, I rode his ass to figure out what was going on, but Todd - he got really pissed. He told me to lay low for the rest of the night. He didn't want me getting in trouble. GIBBS: And you let it go at that? BARNETT: Todd said he'd explain when he got back. CUT TO: INT. OBSERVATION ROOM - DAY KATE: I believe him. What did Gibbs whisper in his ear?(DOOR OPENS) TONY: If I knew I'd be Gibbs. I'm going to go pull Captain Newell's cell records. CUT TO: INT. NCIS LAB - DAY ABBY: Did you feel any energy when you were inside the circle, McGee? Did you get a tingling sensation or start to vibrate? MCGEE: You're going to start to vibrate if you don't do what Gibbs wants. ABBY: I'm running tests on the molecular structure of plants from within and outside the circle. MCGEE: Okay Abby, Gibbs made it clear... the priority is the cabin fre. ABBY: You know, people try to imitate the real thing, but the notion that all recorded formations were man-made with simple flattening tools does not explain the well-documented plant alterations by electromagnetic effects. MCGEE: I warned you... CUT TO: INT. NCIS SQUAD ROOM - DAY KATE: Operation Duty Officer at New River said that Captain Newell signed the log. When I pressed, he admitted that he never really saw Captain Barnett. He just assumed that he was on the flight line, pre-flighting. GIBBS: So Newell took off alone? TONY: Can you fly a Cobra by yourself? GIBBS: Oh, yes. TONY: (INTO PHONE) Yeah, I'm still here. GIBBS: Anything unusual in Newell's O-Q-R or his NATOPS jacket? KATE: He's an only child. Grew up in Florida, just outside Orlando. GIBBS: Any connection to West Virginia? KATE: No. His parents died in an auto accident two years ago. His father sold insurance, and mother was an accountant at Disney World. (SFX: PHONE RINGS B.G.) GIBBS: (INTO PHONE) Yeah, Gibbs. Well, you can see Barnett anytime you'd like, Colonel. TONY: Teague? GIBBS: Good C.O. KATE: Newell went through NCROTC at the University of Florida before flight school. His impulsiveness has gotten him in some trouble. A fight cost him a non-punitive letter of caution. TONY: (INTO PHONE) That's great. (TO GIBBS) Last call Captain Newell got on his cell was at twenty one thirty last night. He hasn't made or received a call since. His phone is currently off. GIBBS: Where was the call from? TONY: A pay phone in Smoky Corners, West Virginia. CUT TO: EXT. STREET - DAY (SFX: CAR BRAKES TO A STOP) KATE: According to the phone company, this thing hardly ever gets used. GIBBS: Well, I guess even people out here have cell phones. KATE: We're being watched. GIBBS: Mm-hmm. I see. CUT TO: INT. STORE - DAY (SFX: DIAL TONE) (GIBBS DIALS THE PHONE) RITT: (INTO PHONE) Now you better get over here. CUT TO: EXT. STORE - DAY GIBBS: Find anything? KATE: It's clean. Too clean. Not even a smudge. GIBBS: Yeah, looks like the only thing out here that has been cleaned recently. Let me have a whack at it. DAPHNE: What's he doing? CUT TO: INT. STORE - DAY RITT: Shh! CUT TO: EXT. STORE - DAY GIBBS: Kate, get those to Abby for prints. RITT: What are you doing to the phone? GIBBS: Special Agent Gibbs. NCIS. Who are you? RITT: Ritt Everett. This is my store. GIBBS: See anyone using the phone Tuesday night? RITT: Well.....nope. Does this have anything to do about that helicopter and the crop circle? (SFX: DOOR OPENS/ CLOSES) GIBBS: Hello, Sheriff. THOMPSON: Special Agent Gibbs. Any luck? GIBBS: Well, Sir, luck doesn't have that much to do with it. THOMPSON: I've been asking around. Lot of folks seen them lights and are complainin' their animals are acting out of sorts. GIBBS: How? THOMPSON: Chickens stopped laying eggs. The cows ain't producing, and stuff like that. GIBBS: Did either of you two see him around? THOMPSON: No. GIBBS: His name's Newell. Captain Todd Newell. RITT: No, I'm sorry. Ain't seen him. THOMPSON: Newell? Ain't nobody by that name in the Corners. I'll keep an eye out for him. RITT: Was he the one flying that helicopter? (SFX: PHONE RINGS) GIBBS: (V.O.) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) Gibbs! I am getting stonewalled here. GIBBS: (V.O./FILTERED) By whom? ABBY: (INTO PHONE) The Air Force. I requested their file on the nineteen ninety four crop circles in Smoky Corners. You'd thought I asked them... (SCENE CUT) ABBY: (V.O./FILTERED) ...For their mssile launch codes. GIBBS: (INTO PHONE) Okay, I'll make a call, Ab. (SCENE CUT) ABBY: (INTO PHONE) No, you don't understand. They're not going to tell you anything either. This is like Area Fifty-one. It is conspiracy at the highest level. (SCENE CUT) GIBBS: (INTO PHONE) Abby, stop yourself. How about the cabin fre? (SCENE CUT) ABBY: (INTO PHONE) Gibbs, this is big. (SCENE CUT) GIBBS: (INTO PHONE) The fre. (SCENE CUT) ABBY: (INTO PHONE) Unfortunately, nothing extra-terrestrial there. (SCENE CUT) ABBY: (V.O./FILTERED) Arson. Plain old gasoline was used as an accelerant. I'm still working on the debris. (SCENE CUT) ABBY: (INTO PHONE) Science can't be rushed, Gibbs. (END TELEPHONE INTERCUTS) (DAPHNE WALKS FROM THE STORE) KATE: Hi! Are you all right? DAPHNE: Yeah, I'm fine. KATE: Ever seen him around here? CUT TO: INT. STORE - DAY THOMPSON: Is your gal gonna be okay? RITT: Don't you worry about her. As long as both sides stick to the story, we'll get through this. CUT TO: EXT. STORE - DAY DAPHNE: I can't talk right now. But if you come back at noon, my daddy will be at the V-F-W in Potterville. KATE: Okay. (DAPHNE WALKS O.S.) GIBBS: Who's that? KATE: Station owner's daughter. Daphne. I think she wanted to talk...couldn't. Her father's having lunch with his buddies at the V-F-W in Potterville around noon. She'll be alone. CUT TO: EXT. SEARCH COMMAND CENTER - DAY TEAGUE: The dogs are a no go. The handlers say something screwed up the dogs. Soon as they stepped into the woods, they started acting up. MCGEE: Do not tell Abby. She's going to make something out of it. TONY: We should start checking the back of their necks for little red X's. MCGEE: What are you talking about? TONY: invde From Mars. MCGEE: Wait, I take it that's a film? TONY: Original nineteen fifty three version. Not the remake. MCGEE: Everything's a movie to you, Tony. TONY: Aliens landed in a field just like this one. They took over the locals' minds, leaving a little red X on the back of their necks. MCGEE: Sounds lame. TONY: Oh, no! Scariest movie I ever saw. Especially when this kid tries to tell his mom and dad what's going on. The camera slowly comes around... reveals X's on the back of mom and dad's necks. I was scared of my parents for years after that. MCGEE: I'm sure the feeling is mutual. GIBBS: Find anything? TONY: Uh, yeah. Interviewed a half dozen locals. Nobody saw or heard the helicopter. Everyone has the same story. MCGEE: B.O.L.'s. Balls of light. According to Abby they are created by manipulating the atomic particles in the atmosphere. GIBBS: Hmm, and who does the manipulating, McGee? MCGEE: I really don't know, Sir. I'm just relating what Abby told me. CUT TO: INT. NCIS LAB - DAY (SFX: MUSIC PLAYS B.G.) DUCKY: I need you to run a tox screen on this tissue sample. ABBY: Where'd you get it? DUCKY: A body exhumed from Arlington. Oh, you look overwhelmed. ABBY: I am. And this just came in from the field. Gibbs wants me to run prints on it ASAP. DUCKY: It appears to be a dollar sixty-five. Well, this poor soul's been dad for thirty six years, I doubt a few more days will matter. ABBY: Thank you, Ducky. DUCKY: Door handle? ABBY: Yeah. It came from a cabin fre. I found traces of something on it. I can use a second opinion. DUCKY: Oh, I'm flattered. Mammalian cells. Most likely human flesh. ABBY: Someone was trapped in that fre. DUCKY: The missing Marine aviator? ABBY: I need to call Gibbs. Could be his missing aviator is dad. DUCKY: If he died, where are his remains? (CUT TO BLACK) FADE IN: EXT. WOODS - DAY TONY: We know the fre was arson and started around the same time Newell and his helo disappeared. Abby is pretty certain someone was in the cabin. GIBBS: But we didn't find any remains. Maybe they got out. TONY: Or someone removed the body. GIBBS: Well, until we find remains, I'm not going to connect the dots. It's time to get cadaver dogs up here to aid the search. TONY: Cadaver dogs coming up. GIBBS: This your cabin, Mister Clay? CLAY: No. No. My land stops right over there at the tree line there. GIBBS: Who's it belong to? CLAY: Well, nobody really. It went to the county after Monroe died. TONY: Who was Monroe? CLAY: The farmer from the east side. Tried working this parcel. Didn't have no chance, though. Too hard to clear. TONY: How did Monroe die? CLAY: Hunting....accident. Shack's been abandoned ever since. I ain't sorry it brned, though. Kids were always using the place... causing trouble. (bat) Is something wrong? (TO MCGEE) I bet his bark's worse than his bite, huh? MCGEE: Uh... the bite's actually much worse. CUT TO: EXT. GAS STATION STORE - DAY (SFX: CAR BRAKES TO A STOP) (MUSIC OVER ACTION/KATE WALKS TO THE STORE) KATE: Daphne? CUT TO: INT. BARN - DAY (MUSIC OVER ACTION/KATE LOOKS AROUND THE BARN) (KATE GASPS) RITT: What you lookin' for? KATE: I need gas. RITT: This way, missy. CUT TO: EXT. GAS STATION - DAY RITT: That'll be six dollars. That's ten. That's two. Three. Four dollars. Are you sure that's all you want? (SFX: CAR ENGINE STARTS) (KATE DRIVES O.S.) CUT TO: INT. CAPTAIN'S OFFICE - DAY GRANT: So what can State Police do for NCIS? GIBBS: Well, we're investigating a helicopter incident in Smoky Corners. GRANT: Yeah, I heard. You want? GIBBS: Sure. GRANT: Have a seat. GIBBS: Met the Sheriff. GRANT: Old Miller Thompson? GIBBS: Yeah. Yeah, he wasn't much help. GRANT: Hell, he doesn't know jack about law enforcement, but he sure loves wearing that uniform. GIBBS: Do you get to Smoky Corners much? GRANT: Well, not unless they call... and they don't. GIBBS: Mm, no crime? GRANT: Nothing we get involved in. There's a few fights. There's been some kind of feud going on up there. It goes back decades. GIBBS: Hmm. What, like Hatfields and McCoys? GRANT: Yeah, something like that. But I honestly don't think anyone remembers how it started. It split the valley down the middle; east versus west. And I was told by my predecessor to stay clear. The truth is, they take care of their own problems. GIBBS: Have they ever had a mrder in Smoky Corners? GRANT: Not that I know of. People just die of natural causes or the occasional farm or hunting accident. GIBBS: Things may have changed. CUT TO: EXT. CORN FIELD - DAY (SFX: STEADY BEEP TONES B.G.) KATE: What's McGee doing out there? TONY: Scanning the field with a magnetometer. KATE: Let me guess, Abby? TONY: Her every wish is his command. KATE: She promised to show him her new tattoo. Wait 'till he finds out it's on her ankle. TONY: What did "gas station girl" tell you? KATE: She was a no-show. Mm, it looks like he found something. (MUSIC OVER ACTION/MCGEE UNCOVERS A MASK) KATE: You are such a child. (GIBBS BRAKES TO A STOP) TONY: Come on. I'm just taking a sip. KATE: It's yours. TONY: Hey, boss. Abby needs to talk to you. GIBBS: Abs, did you get any sleep? ABBY: (ON MONITOR) I am overworked and not paid enough. GIBBS: Quit. What do you got?(BEGIN CONVERSATION INTERCUTS) (SCENE CUT) ABBY: Two partial prints on the coins from the phone booth. GIBBS: (V.O./FILTERED) Any match? (SCENE CUT) ABBY: (ON MONITOR) You need to send a thank you to the West Virginia DMV. They got right index prints from two licensed drivers. One was a trucker that delivered gasoline to the station. (SCENE CUT) ABBY: The second was a local. Greg Sikes. (SCENE CUT) TONY: Oh, yeah. GIBBS: Were you able to get any DNA off the doorknob, Abs? (SCENE CUT) ABBY: Nice work on those prints, Abs. (SCENE CUT) ABBY: (ON MONITOR) Thank you. I know you haven't had a break in two days. Oh, that's okay. I don't need much sleep. Anything for the team. GIBBS: I assume you'll let me know if you find something. ABBY: (ON MONITOR) Don't I always? GIBBS: Yeah, Abby. You do. ABBY: (ON MONITOR) Thank you. (SFX: CAR DOORS CLOSE) TEAGUE: Agent Gibbs, the cadaver dogs have found something. CUT TO: EXT. WOODS - DAY (SFX: DOG BARKS B.G.) GIBBS: Get Ducky. CUT TO: EXT. TRAILER - DAY (SFX: CAR BRAKES TO A STOP) TONY: Smoky Corners Bachelor Quarters. There's something to be said for living in a trailer. Get tired of the view, you just roll it to a new location. Come on, McGee. What, are you never going to talk to me again? MCGEE: How long am I going to be the butt of your practical jokes, the snide innuendoes and juvenile put-downs? TONY: I will always outrank you, Probie. Come on. (KNOCK ON DOOR) MCGEE: Mister Sikes, NCIS. (SFX: KNOCK ON DOOR CONTINUES) (DOOR OPENS) MCGEE: Oh! TONY: Come on in. (DOOR CLOSES) CUT TO: INT. TRAILER - DAY TONY: Someone left in a hurry. (MUSIC OVER ACTION/TONY AND MCGEE LOOK THROUGH THE TRAILER) TONY: Huh. No phone. Ah... nice teeth. CUT TO: INT. AUTOPSY ROOM - DAY GIBBS: Duck, what can you tell me? DUCKY: Not much. Male, roughly six feet. Test cited on femur and clavicle suggests not that old. GIBBS: Give me a range. DUCKY: Mid twenties to thirties. Oh, this distinctive fracture on the inferior left scapula is consistent with a bllet wound. GIBBS: Cause of death? DUCKY: Well, maybe. I mean, it could be trauma or asphyxiation. I don't know if I'll ever be certain. There's not much to work with, Jethro. ABBY: (ON MONITOR) Gibbs! GIBBS: Yeah? ABBY: (ON MONITOR) I used non-isotopic chemiluminescent method to compare the charred DNA to Newell's. GIBBS: Uh-huh. And? ABBY: (ON MONITOR) And it's not his DNA... but it's damn close. GIBBS: Come on, Abs. We're not playing horseshoes.(BEGIN CONVERSATION INTERCUTS) (SCENE CUT) ABBY: There's a ninety nine percent probability that the fre victim is Newell's male sibling. (SCENE CUT) GIBBS: That can't be. Newell's record of emergency data doesn't list a brother. DUCKY: DNA doesn't lie, Jethro. People do. ABBY: (ON MONITOR) The crispy critter was Captain Newell's brother. CUT TO: INT. SQUAD ROOM - DAY KATE: His O.Q.R was wrong? TONY: Recruits lie about things all the time. Especially their age. Why lie about having a brother? Is Abby sure? GIBBS: Yeah. She double-checked. Obviously you two didn't. KATE: We just assumed that his family history was right. GIBBS: NCIS agents don't assume anything, Agent Todd. They check and recheck. Verify everything independently. TONY: We are on it! CUT TO: INT. LAB - DAY ABBY: There is a definite difference. MCGEE: I don't see it. ABBY: Look at the elongated node. It's undamaged. The plants inside the crop circle were changed in a way that is beyond human ability. I'm rerunning an analysis hoping to find anomalous molecular change to the stalks within the circle. I'm betting they were subjected to very short blasts of high energy heat, possibly microwave generated. MCGEE: Re-running because you came up empty. Look Abby, you're looking for something that isn't there. You've been here for two days straight. You're tired. You've done everything that Gibbs has asked. So go home, get some sleep. ABBY: I can't sleep! What are you doing? MCGEE: You're guilty of confirmation bias. It's not there, Abs. You're ignoring the obvious and you're searching for microscopic proof of something that doesn't exist. ABBY: Maybe I should join the CIA. MCGEE: Look at the big picture. The design of the smaller, outer circles was created by bending the corn stalks down in a clockwise direction. But look under the helicopter. Those plants were forced outward from the center by the downdraft of the blades. The corn was still standing and was forced down by the landing of the Cobra. This crop circle is a hoax, Abby. It's created... it's created around a parked helicopter. ABBY: Why would anyone do that? CUT TO: INT. SQUAD ROOM - DAY KATE: Orange County clerk faxed us his parents' marriage certificate. Todd Newell was nine years old when his mother remarried. He was legally adopted; that's how he got the Newell name. His mother's maiden name was Stelling, which is common in Smoky Corners. TONY: Her first husband was a guy named Sikes. They had two boys, Greg and Todd. GIBBS: Todd Newell was born in Smoky Corners. KATE: His co-pilot, Captain Barnett, swears that he never mentioned a brother or Smoky Corners. In fact, Barnett couldn't recall Newell ever mentioned anything about his childhood. GIBBS: We need to find his biological father. TONY: Can't. He died several years ago... in a hunting accident. GIBBS: Ah gee, where have I heard that one before? TONY: So we got a dad civilian in Ducky's cooler. Are we going to turn it over to the local authorities? GIBBS: Nope. Not yet. I want to know more first. KATE: Greg Sikes was involved with the girl at the gas station. She was the only one that seemed willing to talk. Maybe I should go back there and try to find her. GIBBS: Go with her. MCGEE: All right, so we're on the same page, right? ABBY: I guess. Let me tell Gibbs. GIBBS: Tell me what? ABBY: The crop circle was a hoax created around the helicopter after it landed. GIBBS: You don't sound convincing, Abs. ABBY: Yeah, well there's still a lot of stuff that can't be explained. GIBBS: Mm-hmm. Like what? ABBY: Balls of light in the sky. The animals acting weird. Like a missing pilot. GIBBS: Everyone's story is exactly the same. It's too rehearsed. It's what they want us to hear. MCGEE: Exactly what I told her. ABBY: What about the search dogs? I heard they were acting all confused and disoriented. GIBBS: Only the first day. The cadaver dogs had no problem finding the body this morning. I know why we haven't been able to find Captain Newell. Thanks, guys. KATE: How do you know? GIBBS: Because I'm a Marine. CUT TO: INT. NCIS MTAC ROOM - DAY TEAGUE: (ON MONITOR) Newell is alive? GIBBS: Yeah. TEAGUE: (ON MONITOR) Well, whose body did we find? GIBBS: His brother. Captain Newell is still out there. TEAGUE: (ON MONITOR) How do you know that? GIBBS: He received SERE training, Colonel. He's evading us. As part of his training, he was taught a technique to negate enemy dogs. TEAGUE: (ON MONITOR) Yeah, G.S. powder... irritant used in gas mask simulations. I keep a couple of capsules in my survival vest. Dogs get a whiff of that, they're useless for days. GIBBS: He used it on the search dogs. Now he also has pilot's night vision goggles and a survival radio to monitor our search frequencies. Colonel, he's using his Marine Corps training to evade us. (MUSIC OUT) MUSIC IN: INT. CAR - MOVING KATE: Will you stop that? You're driving me crazy! TONY: Sorry. Do I detect a little P-M-S? I didn't think that was 'til next week. Hey, it's a high stress job. You carry a gn. I need to know when you're not at your best. Sikes' trailer is coming up. Daphne wasn't at the gas station. If she's not there, I don't know where else to look. CUT TO: INT. CAR NEAR TRAILER - DAY (SFX: CAR BRAKES TO A STOP) KATE: That's Daphne's truck. TONY: Whoa, whoa, whoa, whoa. (MUSIC OVER ACTION/CAR ACCELERATES TO DAPHNE'S TRUCK) TONY: Hey! Hey, hey, hey! Whoa, whoa, whoa, whoa! (DAPHNE STRUGGLES B.G.) KATE: Daphne, why are you running?! I thought you wanted to talk to us! Daphne! Daphne, talk to us! What happened?! What happened!? Are you looking for Greg? TONY: We know he's your boyfriend. That's why we're here looking for you, okay? DAPHNE: Where is he? KATE: Daphne, are you pregnant? DAPHNE: Five months. Greg's hiding from my daddy. Do you know where he is? (bat) Greg's dad, isn't he? CUT TO: INT. CAR - NIGHT (SFX: SEMI TRUCK HONKS B.G.) GIBBS: Whatever Newell's brother said to him on the phone got him upset enough to risk his entire career with an unauthorized flight in the Cobra. MCGEE: Boss, are you sure you don't want me to drive for a while? GIBBS: But why land in the farmer's field? MCGEE: Uh... well... (SFX: CAR HONKS B.G.) GIBBS: My guess, McGee, it was the closest clearing to the cabin where his brother was hiding. Only Newell was too late. (SFX: CARS HONK B.G.) MCGEE: What? GIBBS: Focus on the case, McGee. MCGEE: Sorry, uh... yes, Sir. GIBBS: Why the crop circle? MCGEE: Well, I have a theory on that. (SFX: CARS HONK B.G.) GIBBS: You care to share? MCGEE: Yeah, uh... okay. GIBBS: Spit it out, McGee. MCGEE: Okay, uh... whoever klled Greg Sikes thought that they could cover it up as another farm or hunting accident. But they couldn't cover up an attck helicopter abandoned in a corn field. GIBBS: Conspiracy. Makes sense. It would take a lot of people to form that pattern in a few hours. MCGEE: They knew that there would be an outside investigation, so they created the circle hoping that we'd do exactly what the Air Force did ten years ago....back off and cover up what couldn't be explained. (SFX: TIRES SCREECH/CAR HORNS HONK) GIBBS: Not bad, McGee. Not bad. CUT TO: EXT. SIKES TRAILER - NIGHT (SFX: CAR BRAKES TO A STOP) GIBBS: Where is she? TONY: Inside. She seemed to relate better to Kate.(DOOR OPENS) (MCGEE GASPS B.G.) TONY: Enjoy the ride, McGee? CUT TO: INT. TRAILER - NIGHT KATE: Daphne's father thrat to kll Greg because she's pregnant.... GIBBS: (OVERLAP) Pregnant. DAPHNE: Greg and me are from different corners in the valley. God, I hate this rotten place. This stupid feud... GIBBS: When was the last time you saw him? DAPHNE: At the gas station... using the pay phone to call his brother for help. GIBBS: Was Greg close to his brother? DAPHNE: He ain't seen him since they was kids. About a year ago he got a call telling him their mother died. It reunited them. They're the only family either of them had left. KATE: Daphne's afraid Captain Newell's been drawn back into the feud. DAPHNE: He's gonna kll my daddy to get revenge. CUT TO: EXT. TRAILER - NIGHT (DOOR OPENS) GIBBS: Kate, you and McGee get Daphne out of here. TONY: What's up, Boss?(TELEPHONE BEEP TONES) (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) TEAGUE: (INTO PHONE) Colonel Teague. (SCENE CUT) GIBBS: (INTO PHONE) Call off the search. Pull your men out. TEAGUE: (V.O./FILTERED) Why? (SCENE CUT) TEAGUE: (INTO PHONE) You said Newell was still out there. (SCENE CUT) GIBBS: (INTO PHONE) He is. He wants revenge... but he's not going to make his move until he thinks we're gone. (SFX: TELEPHONE BEEP TONE) (END PHONE INTERCUTS) CUT TO: EXT. GAS STATION - DAY THOMPSON: They're leaving. CUT TO: INT. GAS STATION STORE - DAY (DOOR OPENS) THOMPSON: Ritt, we pulled it off. The Marines have backed off. This thing's going away. Nobody's told outsiders nothing. RITT: My problem is Greg Sikes' brother. I gotta get him before he gets me. CUT TO: EXT. WOODS - DAY PILOT: (V.O.) This is White Hawk Three Four terminating search, returning to base. BASE: (V.O.) Three Four out. CUT TO: INT. GAS STATION STORE - DAY THOMPSON: Ritt, think twice about what you're fixing to do. (SFX: CAR BRAKES TO A STOP) THOMPSON: They ain't got nothing, Ritt. Just stick to the story. (DOOR OPENS) RITT: What's going on? Looks like you're all pulling out. GIBBS: The Marines are, we aren't. Do you get a kick out of smacking your daughter around? RITT: Why don't you just get out of here. GIBBS: DiNozzo, read him his rights. RITT: What are you talking about? GIBBS: The mrder of Greg Sikes. RITT: Greg Sikes is dad? I thought he went hunting. GIBBS: We found his remains. TONY: You have the right to remain silent. Anything you say can and will be used against you in a court of law. RITT: Aren't you out of your jurisdiction? You're the law here, Miller. THOMPSON: Yeah, I am. GIBBS: Ah, don't get excited, Sheriff. The West Virginia State Police are on their way, but I do have the authority to detain both of you until they arrive. CUT TO: EXT. GAS STATION - NIGHT (MUSIC OVER ACTION/NEWELL MOVES QUICKLY THROUGH THE NIGHT) CUT TO: INT. BARN - NIGHT TONY: (WHISPERS) Gibbs, I have a bogey. (V.O.) In the trees. (SCENE CUT) TONY: (V.O.) Closing in from the northwest. GIBBS: Everybody copy? (SCENE CUT) MCGEE: Yeah, boss. (SCENE CUT) KATE: Got it. CUT TO: INT. BARN - NIGHT TONY: (WHISPERS) He slipped behind the old cars. CUT TO: EXT. GAS STATION - NIGHT GIBBS: (WHISPERS) Let him get closer. TONY: (V.O.) Roger that. CUT TO: EXT. BARN - NIGHT (MUSIC OVER ACTION/NEWELL CONTINUES MOVING) TONY: Oh, man. (INTO PHONE) He made me. GIBBS: (SHOUTS) ht the lights! (SFX: NEWELL GASPS IN PAIN) GIBBS: (SHOUTS) NCIS! Lower your wapon, Captain Newell! It's over. NEWELL: It's not over until Ritt Everett's dad. GIBBS: He's in the custody of the State Police. NEWELL: That's not going to change anything. It's an eye for an eye here. Always has been. GIBBS: Is that why your mother took you away? Put down your wapon. NEWELL: Why? I'm never going to fly again. GIBBS: Well, your career is probably over, but you haven't hurt anybody yet. Keep it that way and I'll do everything I can to help you. There is a young girl carrying your brother's baby. And they could sure use your help. CUT TO: INT. INTERROGATION ROOM - DAY NEWELL: Once we left, it was like Smoky Corners never existed. My mother erased it from our lives. I always felt guilty she had to leave Greg behind, but my father wouldn't let her have both of us. GIBBS: Why did you take the Cobra? CUT TO: INT. OBSERVATION ROOM - DAY NEWELL: It's fierce. Intimidating. CUT TO: INT. INTERROGATION ROOM - DAY NEWELL: I hoped it would scare the crap out of those hicks and save Greg's life. But I was too late. The cabin was in flames. Greg trapped inside. Everett and the others started sh*ting at me and I got ht. They had hunting rfles. All I had was my pstol. I was cut off from the helo and couldn't get back to the base. I knew my Marine Corps career was over. All that was left for me was revenge. CUT TO: INT. SQUAD ROOM - DAY MCGEE: Wow, those are really pretty, Kate. Who are they from? KATE: Tony. TONY: We had a tough couple of days. Kate pointed out that I'd taken one too many liberties. The flowers are a mea culpa. KATE: Tony, I'm blown away. They're gorgeous... and they're from Martha's Garden, my favorite florist! How did you know? TONY: Lucky guess. GIBBS: He went through your purse and got the phone number off your PDA. (MUSIC UP OVER ENDING CREDITS AND OUT) (ENDING CREDITS CONTINUE AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x03 - Vanished"}	foreverdreaming
FADE IN: INT. TRUCK - MOVING WILKINS: (INTO PHONE) Been six months, three weeks, fourteen hours, eighteen minutes since I last saw Tina's cute little - what are you doing? (SFX: CAR BRAKES TO A STOP) JENNINGS: Gotta go. WILKINS: You can't hold it for twenty minutes?! JENNINGS: I'm not gonna tell Marci I've got to ht the head first! (JENNINGS RATTLES THE GATE) WILKINS: Come on, Tom! JENNINGS: I promise not to shake it more than once. (CAMERA ANGLE ON dad LIEUTENANT) (CUT TO BLACK) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "LT. JANE DOE" KATE: I'd have returned the money. TONY: A buck eighty five? KATE: It's the principle, not the amount. TONY: I didn't notice at the drive through. I dropped the change in the ashtray and left. KATE: You didn't notice because you were too busy leering at the blonde working the window. TONY: I wasn't leering. Drooling a little maybe. The point is I didn't notice her mistake until after we parked and I took the change out of the ashtray. KATE: The point is you did notice which makes not returning the money a conscious act. TONY: Well, I'd burn more than a buck eighty five in gas driving back there. KATE: It's going to come back to haunt you. TONY: What is? KATE: Karma. What goes around comes around. Like a boomerang. And when yours comes back around, you'd better duck really low. TONY: Well, you don't have to duck if you don't believe. MCGEE: Believe what? TONY: Kind of a private conversation, McGee. KATE: With all the bad karma you've built up with women alone I am surprised that something hasn't just fallen off. GIBBS: Missing something, DiNozzo? (PHONE RINGS) GIBBS: (INTO PHONE) Yes, Gibbs. REYNOLDS: (V.O./FILTERED) Agent Gibbs, this is Commander Reynolds. We have a DOA at Norfolk. (HANGS UP PHONE) GIBBS: We've got a body at Norfolk. Get Ducky. KATE: I thought he was flying to London? GIBBS: Plane doesn't leave for a few hours. TONY: Do you believe in Karma, boss? GIBBS: I had three wives, DiNozzo. (TONY SPILLS THE DRINK ON HIS PANTS) TONY: Oh! Oh! KATE: You should've driven back. MCGEE: Driven back where? TONY: Oh! (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN/ CLOSED) CUT TO: EXT. NAVAL STATION - DAY GIBBS: Who found the body, Commander? REYNOLDS: Those two Seamen off the George Washington. She docked yesterday after a six month deployment in the Gulf. They were driving off station for two weeks leave - stopped to use the head. GIBBS: Is that what they call bleachers in Norfolk? REYNOLDS: One over there was locked. GIBBS: Yeah, well I guess I'd go out behind the bleachers, too. REYNOLDS: After discovering the body, they flagged down Petty Officer Cluxton, who was passing by on patrol. KATE: You do all this, Petty Officer? CLUXTON: Yes, Ma'am. After ascertaining the Lieutenant was deceased, I searched for I.D. GIBBS: You touched the body? CLUXTON: I was wearing gloves, Sir. KATE: Go on. CLUXTON: Finding no I.D., I radioed in the report, retraced my steps, marked my footprints for exclusionary purposes and taped off a twenty yard perimeter. GIBBS: How often did your patrol take you past this area last night? CLUXTON: Every hour on the thirty, Sir. GIBBS: From? CLUXTON: Twenty hundred hours when I came on duty, Sir. Saw nothing unusual until Seaman Jennings and Wilkins flagged me down at zero one thirty two. GIBBS: DiNozzo get their-- TONY: Statements. On it, boss. CLUXTON: I took their statements, Sir. GIBBS: Do you mind if we take them, too? CLUXTON: No, Sir. Of course, not. KATE: You did a good job, Petty Officer. CLUXTON: Thank you, Ma'am. MCGEE: Petty Officer Cluxton. CLUXTON: Agent McGee! MCGEE: Hey, how have you been? CLUXTON: I've been good. And you? MCGEE: Good. Good. Sorry, Kate. Yeah, good. Uh... um...yeah, I've been assigned to NCIS Headquarters in the Navy Yard. CLUXTON: So I heard. MCGEE: It was kind of a surprise transfer. Uh... you know, one minute I'm at Norfolk - the next... GIBBS: You're back at Norfolk. Maybe even permanently, McGee. MCGEE: Yeah, uh... sorry. Sorry, boss. The Petty Officer and I... we vetted civilian job applicants back... I'm going to start to measure and sketch now. GIBBS: Yeah, McGee. You do that. That'll be all for now, Petty Officer. CLUXTON: Yes, Sir. REYNOLDS: If you need me, Special Agent Gibbs, I'll be in my office. GIBBS: Okay. KATE: You could have told her, Gibbs. GIBBS: Told who what? KATE: Petty Officer Cluxton. She did a good job. GIBBS: Did she now? KATE: She wore gloves. Marked her footprints. Cordoned off the crime scene. GIBBS: Searched the body for I.D. How do you do that without disturbing the body, Agent Todd? KATE: She could have - should have waited for the M.E. GIBBS: That would have been doing a good job. Keep sh*ting. CUT TO: EXT. PARKING LOT - DAY DUCKY: Doctor Gutterman will be filling in in my absence. I should warn you the old boy does love to hear himself talk. JIMMY: I'll do my best to handle it, Doctor. DUCKY: Because I suspect the good doctor will be a tad grumpy as well. JIMMY: Why's that? DUCKY: He lost the coin toss. MCGEE: What coin toss, Ducky? DUCKY: The one that in two hours will send me to London to the assembly of the Collegium Mortem Scutantium. MCGEE: Of course. KATE: The Society of Medical Examiners. DUCKY: Very good, Kate. KATE: Four years of Latin has finally paid off. DUCKY: Do you know who founded the society? KATE: Not a clue. DUCKY: Leonardo Da Vinci himself. KATE: Wow! DUCKY: Wow, indeed. Yes, we can trace the roots of our society dedicated to the history of forensic sciences to one formed by Leonardo in the same year that he began the Mona Lisa. In fact, that transcendent painting is a symbol... GIBBS: (OVERLAP) Duck, do you want to meet with your society in London or give us a lecture? DUCKY: Oh, quite right. I do have a plane to catch. Thank you, Jethro. GIBBS: De nada. DUCKY: Now what story do you have to tell us, my dear? KATE: You know, Ducky, some day one of them will talk back. DUCKY: The language of silence may be hard to hear, Caitlin, but unlike the living, when the dad speak they do not lie. Small abrasions and visible bruising of the neck. GIBBS: Strangled. DUCKY: Most likely. Doctor Gutterman can confirm that when he examines the soft tissues. Bruises on the thighs. She could have been rped. Gutterman can confirm that, too. Liver probe. JIMMY: Ready. DUCKY: Usually you ask, Jethro. GIBBS: Master-At-Arms already searched the body, Duck. I'm double-checking. DUCKY: I do wish they'd wait until I arrive. TONY: Hey Boss, got statements from Seamen Jennings and Wilkens. Can I cut them loose? They've been at sea a long time. GIBBS: Know where to find them? TONY: Motel at Virginia Beach - girlfriends are waiting. GIBBS: Yeah, let them go. (SFX: TONY WHISTLES) TONY: Haven't been with their women in... six months, three weeks, eighteen hours. Oh. Longest I went was eleven days, six hours. KATE: I can't believe you actually know these things. TONY: It's a gift. DUCKY: Liver temp eighty one point six. JIMMY: Ambient temperature is seventy three point one. GIBBS: Time of death? DUCKY: Uh... somewhere between twenty three hundred and zero one hundred. Well my children, I have a plane to catch. MCGEE: How long are you in London for, Doctor? DUCKY: Only three days. Actually, I won't be in London. I'll be in the City of London. MCGEE: There is a difference? DUCKY: There's a little known fact that the city of London isn't actually London at all. MCGEE: How can it not be London? GIBBS: No I.D. We've got a Lieutenant Jane Doe. (MUSIC OVER ACTION/DUCKY CHECKS THE VICTIM'S NECK) DUCKY: The moment Special Agent Gibbs is done processing the scene, we get her back to the morgue. JIMMY: Of course, Doctor. MCGEE: Ducky, if it's not London, what is it? CUT TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN) JIMMY: Shouldn't you be on a plane by now, Doctor? DUCKY: One of the modern marvels of air travel, Mister Palmer. Miss one flight, there are numerous others from which to choose. JIMMY: You started without me. DUCKY: I believe as you are my assistant, as opposed to the other way around, it is my prerogative to start without you. CUT TO: INT. LAB - DAY (MUSIC PLAYS B.G.) (SFX: PHONE RINGS) ABBY: Abby here! You're on the air!(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) DUCKY: (INTO PHONE) Abby, it's Ducky. ABBY: (V.O./FILTERED) Oh! (SCENE CUT) ABBY: (INTO PHONE) Oh, Ducky on the AirFone. How cool. (SCENE CUT) DUCKY: (INTO PHONE) I'm in Autopsy. (SCENE CUT) ABBY: (INTO PHONE) You're going to be way late for afternoon tea. (SCENE CUT) DUCKY: (INTO PHONE) I'm sending Mister Palmer up with the victim's fingerprints, semen and blood for DNA analysis. (SCENE CUT) ABBY: (INTO PHONE) Ooh. rped and mrder. (SCENE CUT) DUCKY: (INTO PHONE) ...Be sure to sign the evidence exchange forms. (SCENE CUT) DUCKY: (V.O./FILTERED) I will check. ABBY: (INTO PHONE) Okay. As soon as I'm finished with this explsives swab analysis I will get all over it. (SCENE CUT) DUCKY: (INTO PHONE) No, you will get over it now! (SCENE CUT) ABBY: Oh. (END TELEPHONE INTERCUTS) CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Why are you still here? JIMMY: I'm... I'm not. (SFX: DOORS SLIDE OPEN/ CLOSED) DUCKY: You're back, aren't you? You bastard. (MUSIC OUT) FADE IN: INT. LAB - DAY MCGEE: Is that good for you? ABBY: Trust me, Mister Goodwrench, I'm smiling. GIBBS: I'm not. ABBY: Hey, Gibbs! MCGEE: Hey, Boss. GIBBS: Special Agent Goodwrench? ABBY: McGee is rewiring my hotbox. MCGEE: That's a nickname for a bundle of receptors in the firewall that regulates the flow of energy throughout the system. See, but when stimulated correctly it sends waves and waves of rhythmic pulses. Waves ...waves that uh... that hyper-crank the... the uh... transfer speed ... uh...of digitized infor - Abby? ABBY: McGee is helping me speed up the search for Lieutenant Jane Doe's fingerprints in the AFIS database. I've got to I.D. her fast to keep the hound at bay. GIBBS: I'm more Jack Russel Terrier. ABBY: No, not you, Gibbs. Ducky. He's barking at my heels like a dog with mange. GIBBS: Is he still here? ABBY: In autopsy. And he's so crabby he'll give you a run for you money. (GIBBS WALKS O.S.) MCGEE: If I said that to Gibbs, I would be seeing stars. ABBY: Well that's the advantage of being me. Now get back down there. CUT TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN/ CLOSED) GIBBS: Doctor Mallard! JIMMY: Jimmy Palmer. How stupid is that? I know that you know that I'm not Doctor Mallard. I just... you see... uh... he's not here, Sir. GIBBS: Did he catch a flight to England? JIMMY: No, he said he's going to Norfolk. I think he drove. GIBBS: Why? JIMMY: Why did he drive? GIBBS: Go to Norfolk! JIMMY: Oh, he didn't say. He just... he just finished the autopsy, told me to put her to bed, and then he said he was going to Norfolk. GIBBS: Anything unusual in the autopsy? JIMMY: I don't know, Sir. Doctor Mallard wouldn't even let me assist him. He did everything by himself. GIBBS: Did he ever do that before? JIMMY: No, Sir! No, he took quite a while, too. He wanted to check everything over and over. I thought he only made me do that because I'm... (SFX: DOORS SLIDE OPEN/ CLOSED) JIMMY: ... Inexperienced. CUT TO: INT. EVIDENCE STORAGE - DAY (DOOR OPENS/ CLOSES) (ACTION CONTINUES/ DUCKY EXAMINES THE SAMPLES) (DOOR CLOSES) CUT TO: INT. SQUAD ROOM - DAY TONY: Sheesh. I've seen that look before. KATE: You went to the men's room forty-five minutes ago. TONY: You clocked me? KATE: What could take you so long? Don't answer that! TONY: Actually, Kate... KATE: I don't want to hear it! TONY: Returning the buck eighty five to the drive thru. KATE: You returned the money? TONY: You see, that whole hands over the ears thing doesn't work. I used to do that I was a kid. I could hear everything my parents said. They had some interesting words. KATE: I can't believe you gave it back. TONY: Well, she was off duty. KATE: You didn't give it back. TONY: The pimply-faced mall rat at the drive-thru would have just pocketed it. KATE: You brought the teacher coffee? TONY: Well, thinking ahead, Kate. Thinking ahead. After you tell Gibbs we've got nothing, a cup of his favorite brew will tame the beast. KATE: After I tell Gibbs? GIBBS: Tell me what? TONY: Hey, Boss. I got you a little-- (SFX: COFFEE SPLASHES ON TONY) TONY: Ah!! (KATE CHUCKLES) KATE: What are the odds of that happening twice in one day? GIBBS: The same as me fring the two of you if I don't get a report. KATE: The victim's picture is on the Navy intranet to department heads of every in-station vessel and base unit. Nothing yet. GIBBS: P.S.A? TONY: No missing females, officers or enlisted. (TO KATE) P.S.A. is Personnel Support Activity. KATE: I've been here a year, Tony. I know the acronyms. TONY: Ah, a year. It seems like only yesterday you were mixing up your NAV-SACs with your NAV-SOCs. Gosh, our little girl has grown up fast, hasn't she, Boss? Ow! What was that for? GIBBS: Not growing up! What else you got? KATE: Nothing. GIBBS: Nothing. ABBY: Hey guys. KATE: But it looks like Abby does. GIBBS: Who is our victim? ABBY: Um, we do not know. GIBBS: Then what are you doing here? MCGEE: Well, we're...we're... we're through, boss. ABBY: We ran the entire AFIS databank. We didn't get a match. GIBBS: How could AFIS not find a match? She's a Navy Lieutenant. DUCKY: No she isn't, Jethro. Lieutenant Jane Doe is a misnomer. The poor woman was never in the Navy. Match this sperm against the sample I removed from our victim. Please. GIBBS: You've been holding out on me, Doctor. DUCKY: Yes, Agent Gibbs. I have. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY (SFX: DRAWER SLIDES OPEN) JANE DOE: Tell my family what happened to me. Please. GIBBS: (V.O.) Doctor Mallard! (GIBBS AND DUCKY EXAMINE THE VICTIM'S NECK) GIBBS: That's not the first trident you've seen carved in the neck of a victim, is it? DUCKY: No. I shouldn't have held out on you, but I wasn't sure it was the same until I did the autopsy. GIBBS: You weren't sure when you saw the trident on her neck at the crime scene? DUCKY: Unlike you, Agent Gibbs, I prefer to rely on forensic evidence and not my gut. GIBBS: We're a team, Doctor. Team members don't hold out. DUCKY: Yes, you're right. It was... unprofessional. I'm still hoping that Abby doesn't get a match and all this is just some macabre coincidence. Forgive me, Jethro. (SFX: DRAWER SLIDES SHUT) GIBBS: Tell me about that other case. DUCKY: Well, it was ten years ago. CUT TO: EXT. DIRT PATH - FLASHBACK DUCKY: (V.O.) A Navy corpsman out jogging found the body in a culvert beside an athletic field at Norfolk. The Navy Lieutenant had been rped and strangled. She had a trident carved on the side of her neck. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: (V.O.) We ran her prints through AFIS and got nothing. She wasn't in the Navy. Our profiler believed that the mrder (ON CAMERA) had dressed his victim as a Navy Lieutenant to fulfill some revenge fantasy. GIBBS: Ninety four was the first year women were deployed on combat ships. DUCKY: Yes. Special Agent Dawes and I assumed that the kller had served under a female officer. GIBBS: Dawes? Don't know him. He retire? DUCKY: He passed on. Seven years ago. GIBBS: He investigated every Navy unit with a trident insignia. DUCKY: Especially those with female officers. He didn't come up with a single suspect. GIBBS: The trident symbol may have nothing to do with the Navy. DUCKY: That's the conclusion we came to. But... this note was found at the scene of the crime three days after the body was discovered. GIBBS: Was it missed on the initial search? DUCKY: No - it was found where the body had been. GIBBS: But he didn't come back. DUCKY: Not until now. GIBBS: I've got one question for you, Ducky. Why is this case so personal? DUCKY: Did you know that Leonardo Da Vinci never gave the Mona Lisa to the patron who commissioned it? GIBBS: Nope. DUCKY: Instead, he carried the painting with him for the rest of his life. She's been with me for ten years, Jethro. She's the only Jane Doe I never identified. The only one whose family has no closure. The only one who never went home. (SFX: PHONE RINGS) (BEGIN TELEPHONE INTERCUTS) GIBBS: (INTO PHONE) Autopsy. ABBY: (V.O./FILTERED) Ducky? GIBBS: (INTO PHONE) Do I sound like Ducky? ABBY: (V.O./FILTERED) No. (SCENE CUT) ABBY: (INTO PHONE) Actually, these days he sounds more like you, Gibbs. (SCENE CUT) GIBBS: (INTO PHONE) I'm not in the mood, Abs. ABBY: (V.O./FILTERED) Well, maybe this will brighten your... (SCENE CUT) ABBY: (INTO PHONE) ... Spirits. The semen sample from Jane Doe's mrder... matches the sample that Ducky gave me! (bat) This is good news, right? (SCENE CUT) GIBBS: (INTO PHONE) Abs, that semen is from a ten year old cold case. (HANGS UP PHONE) (END TELEPHONE INTERCUTS) DUCKY: He's back, isn't he? Not again, Jethro. We can't let him escape again. (MUSIC OUT) FADE IN: INT. SQUAD ROOM - DAY DUCKY: (V.O.) I saw this trident carved into the neck of the victim at the crime scene and told no one. (ON CAMERA) Not even Gibbs. All I can do is apologize and assure you that such an inexcusable lapse of forensic protocol will never happen again. Right. Ten years ago, another Jane Doe was found rped and strangled in a culvert beside an athletic field at Norfolk. She, too, was a civilian dressed in the uniform of a Naval Lieutenant. She had a high blood alcohol level and a trident carved into the side of her neck. Abby has confirmed that sperm from both victims came from the same man. So we are pursuing a serial rpist and mrder. GIBBS: This note was found three days after the crime scene had been processed. KATE: A challenge to investigators. TONY: You think, Kate? GIBBS: I've asked Commander Reynolds to place our crime scene under discreet surveillance. Since ninety four was the first year we deployed women on warships, this wacko may be an enlisted man acting out a revenge fantasy. TONY: They investigate units with tridents on their patches? GIBBS: Gee, I don't think they thought about that, Tony. Yeah, they investigated every ship and shore division with female officers. Nada. Abs, do you need to go to the head? ABBY: No, I have a question. Isn't ten years a long time between mrder? KATE: Absolutely. This doesn't fit a serial kller's profile. Ducky, could you pull the head shts up for me again, please? Now, if he goes to the trouble of dressing two civilians like a Lieutenant that he hates, why is one blonde and the other brunette? One Anglo, one Hispanic? TONY: They're both cute for being dad. GIBBS: He's a wacko! Maybe just being female and intoxicated was good enough. Unless Abby blew the sperm match... ABBY: No way! GIBBS: The same man klled both of them. Which means he didn't rpe and mrder for ten years because... TONY AND KATE: He was in prison! GIBBS: Hey! Okay, homework assignments. McGee? MCGEE: Boss. GIBBS: Search JAG records for sailors incarcerated after October of ninety four and... MCGEE: Recently released. On it. GIBBS: Kate, suspect interviews from ten years ago. If any of these men still live in Norfolk, question them. KATE: Okay. GIBBS: DiNozzo, flash this Jane Doe at every bar, club and strip joint within a mile of the Norfolk gate. Given the victim's blood alcohol level, maybe he picked her up in one of them. TONY: No problema. GIBBS: Abby, forensics may have missed something in ninety four. Go over it again. ABBY: Yes, professor. GIBBS: Come on people! Let's go! Let's go! Hey wait. Come here. You'll need Ducky's help. ABBY: No I won't. GIBBS: Ab. ABBY: Yes I will. Hey uh... Duckman! DUCKY: Yeah? ABBY: (V.O.) The cross polars in my polarizing light microscope won't center. DUCKY: (V.O.) That could be a problem. However, I think I have a solution. CUT TO: INT. BAR - DAY TONY: Hey. BARTENDER: How's NCIS doing? TONY: Well, according to my friends, I'm having some bad karma. Not that I believe in that stuff, but you know... BARTENDER: You really should, you know. TONY: Is that right? BARTENDER: Yeah. You see, I used to reject all things spiritual, mystical, and existential. But once I began to embrace them, my whole life started to blossom. TONY: She been in recently? BARTENDER: No. What'd she do? TONY: Got herself rped and klled. BARTENDER: Such a sweet countenance. TONY: Sweet countenance? BARTENDER: Yeah, that radiant look on her face. TONY: She doesn't look radiant. She's dad. BARTENDER: In that picture? TONY: Yeah, she's dad. BARTENDER: She's dad? TONY: She's dad. Why do you think her eyes are closed? BARTENDER: I thought she was meditating. TONY: Okay. Thanks. BARTENDER: Guess he doesn't believe in that either. CUT TO: EXT. ATHLETIC FIELD - DAY (CLUXTON PICKS UP THE NOTE) CUT TO: INT. SQUAD ROOM - DAY GIBBS: (INTO PHONE) Well, have Petty Officer Cluxton deliver it ASAP. VOICE: (V.O./FILTERED) Do you want it in the over night? GIBBS: (INTO PHONE) No, the evening pouch will not do, Commander! GIBBS: He didn't wait three days. ABBY: (V.O./FILTERED) Hello? GIBBS: (INTO PHONE) Abs, Norfolk got a note...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (V.O./FILTERED) ... From our wacko. ABBY: (INTO PHONE) Oooh. Did you catch him? GIBBS: (V.O./FILTERED) He made the drop before... (SCENE CUT) GIBBS: (INTO PHONE) ...Our surveillance was in place. You'll have it in a couple hours. Listen, compare the ink, the paper... (SCENE CUT) GIBBS: (V.O./FILTERED)....The handwriting. ABBY: (INTO PHONE) Did you get DNA? (SCENE CUT) GIBBS: (INTO PHONE) Did you get DNA off the first one? (SCENE CUT) ABBY: (INTO PHONE) Yep. DNA testing was in the caveman era in ninety four. I'm good. I'm really good. (END TELEPHONE INTERCUTS) CUT TO: INT. SQUAD ROOM - DAY GIBBS: Gas pain? KATE: What? No! GIBBS: Well then stop grinning and tell me what you got. KATE: When he found the first Jane Doe while jogging, Petty Officer Goetz was in port on a carrier, the Teddy Roosevelt. GIBBS: Agent Dawes interrogated him a number of times on the Big Stick and here. KATE: Big Stick? GIBBS: Teddy Roosevelt. "Talk softly, carry a..." KATE: Carry a big stick. Cute. Goetz stayed in the Navy, is a Chief and arrived in Norfolk on the same carrier as the seamen who found our Jane Doe. The... Honest Abe. GIBBS: "Shall not Perish." KATE: What? GIBBS: Lincoln's not Honest Abe. It's "Shall Not Perish." KATE: What kind of a nickname is "Shall Not Perish?" GIBBS: Ask Chief Goetz when you pull him in for questioning. KATE: Okay. MCGEE: The Emancipator. That... that would be a good name for Abraham Lincoln. Since he uh... he signed the Emancipation Proclamation. Uh... the... GOETZ: (V.O.) This have to do with the body... CUT TO: INT. INTERROGATION ROOM - DAY GOETZ: ...I found ten years ago, Sir? GIBBS: Yeah. GOETZ: Isn't there a statute of limitations on questioning a suspect? GIBBS: I didn't say you were a suspect. GOETZ: Why else would I be here, Sir? GIBBS: Another body was found two nights ago. Same M.O. GOETZ: She have a trident here? He said he'd be back. GIBBS: Now how did you know that? Agent Dawes never told you. GOETZ: No, Sir. But he had me write out "I'll be back" with my right and left hand. Not too hard to figure out why. GIBBS: You arrived two days ago on the Abraham Lincoln? GOETZ: Yes, Sir. GIBBS: First night back, where'd you go? GOETZ: You think I rped and mrder her?! GIBBS: I never said she was rped. GOETZ: You said the same M.O. GIBBS: Where did you spend your first night ashore? (bat) Clubbing? GOETZ: I didn't leave the station. GIBBS: Six months at sea and your first night in port you spend it aboard ship? GOETZ: No, Sir. I said I didn't leave the station. I stayed with a friend. GIBBS: Stationed here at Norfolk? GOETZ: Yes, Sir. CUT TO: INT. SQUAD ROOM - DAY TONY: Hey! Hey! Whoa! Whoa! Where's the five alarm? MCGEE: I think I have the suspect. Machinist Mate Harlan Wilson! He was there in October ninety four. Discharged that December. Arrested two months later in Toronto for sexually asault a female Canadian Naval officer. Got fifteen years. Paroled two months ago and is now living in Norfolk. TONY: I didn't know there were women in the Canadian Navy. MCGEE: I gotta tell Gibbs! TONY: Whoa, Probie. First you report to your immediate superior. MCGEE: I just did. TONY: Blah, blah, blah. Female Canadian Naval Officer. That's not reporting. MCGEE: That would be all you heard. TONY: Again, start with the name. GOETZ: (V.O.) Can't do that, Sir. CUT TO: INT. INTERROGATION ROOM- DAY GIBBS: Your friend married? GOETZ: No, Sir. GIBBS: An officer? GOETZ: Yes, Sir. So you see how I can't give you the name. GIBBS: Chief, I'm not interested in ruining careers. I need to know where you spent the night of the mrder. GOETZ: (WHISPERS) Can we speak off the record, Sir? Just you and me? GIBBS: Kate. CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: Stop the tape. KATE: Stop the tape. TECHNICIAN: Yes, Ma'am. (DOOR OPENS) TONY: No sound? KATE: Gibbs is having a private interrogation. No sound, no video. TONY: McGee needs to talk to him. MCGEE: I'm not going to interrupt him. TONY: Kate? KATE: (CHUCKLES) No. TONY: Okay, fill her in, McGee. Tell her about Harlan Wilson. Meet me in the garage in five. CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: (V.O.) I'm waiting, Chief. GOETZ: How do I know they stopped taping? GIBBS: Because I told them to. The name? GOETZ: Lieutenant Commander William McDougal. MUSICAL BRIDGE TO: EXT. TRAILER PARK STREET - DAY TONY: Starsky, check this sweet seventies rod. Nice. All right, you be the Avon lady. I'll cover the rear. Yeah. (MUSIC OVER ACTION/TONY AND MCGEE APPROACH THE TRAILER) TONY: What's the peekie, Probie? MCGEE: Doesn't look like anyone's home. TONY: I'd love to get a look inside while he's away. MCGEE: I told you we should get search authorization. TONY: No time. Besides it's a catch twenty two. MCGEE: It is? TONY: Yeah, we go inside and get something we shouldn't, we're screwed. We don't go inside and we don't get something we could have, we're more screwed. MCGEE: I'm not following you. TONY: That's because I'm a highly seasoned senior field agent and you're a pathetic... MCGEE: Probie. Yeah. TONY: You're a fast study, McGee. Fifteen seconds. Personal best. (DOOR OPENS) CUT TO: INT. TRAILER - DAY TONY: Well, he's no Martha Stewart. (TONY WALKS THROUGH THE KITCHEN) (SFX: OVEN DOOR OPENS) TONY: Well, he's going to be home soon. MCGEE: How can you tell? TONY: Hungry Man in the oven. (SFX: PANS CLATTER TO THE FLOOR) TONY: A buck eighty freakin' five! (SFX: TRUCK DRIVES TO THE TRAILER) MCGEE: Pick up's pulling up! (F/X TONY SCRAMBLES TO LEAVE THE KITCHEN) CUT TO: EXT. TRAILER - DAY (TRUCK DOOR CLOSES) TOM WILSON: Yeah? MCGEE: NCIS. TONY: Harlan Wilson? TOM WILSON: Tom Wilson. His big brother. TONY: Your kid brother around, Tom? TOM WILSON: No. MCGEE: He listed this address on his parole release. TOM WILSON: He was here. TONY: Do you know where he is now? TOM WILSON: Yeah. TONY: Well, we need to talk to him. TOM WILSON: Well that's going to be hard to do. He's been dad for six weeks. (MUSIC OUT) FADE IN: INT. SQUAD ROOM - DAY GIBBS: Chief Goetz's alibi checks out. TONY: Where was he? GIBBS: With a friend. KATE: You're taking the word of a friend? GIBBS: No. Saliva swab to compare his DNA with sperm taken from the victims. Any other questions? Good. My turn. Where's McGee? TONY: He took Harlan's hairbrush to Abby to compare his DNA to the sperm. Probie won't give up on the obvious. GIBBS: Harlan Wilson was dad when the second mrder occurred. Wasn't he, DiNozzo? TONY: Very dad, boss. Big mother heart attck. Fax of the death certificate. GIBBS: How many bars and clubs did you canvas? TONY: Twenty four, twenty five. GIBBS: Which was it? Twenty four or twenty five? TONY: You in a bad mood, boss? GIBBS: No! TONY: Didn't think so. I covered every one within a mile of the Norfolk main gate. Like you said. GIBBS: What about the other gates? TONY: You didn't ask me to look at I'm... I'm on that. GIBBS: Kate. You go with him. KATE: You want me to go bar hopping with Tony!? TONY: You've never been in a bar, have you? KATE: Not the kind sailors hang at. CLUXTON: Agent Gibbs? KATE: You can catch him at the rear elevator. CUT TO: INT. CORRIDOR - DAY CLUXTON: Agent Gibbs! GIBBS: Got the note, Petty Officer? CLUXTON: I do, Sir. Knowing how important the note is forensically, I jumped a ride with the CH-Fifty Three that was headed to Quantico, caught the Amtrak to D.C., then hailed a cab. GIBBS: Well, that's creative thinking, Petty Officer Cluxton. CLUXTON: Thank you, Sir. Are you taking the note to the lab now? I'm pretty interested in forensics, Sir. KATE: (V.O.) Tell me you're not serious about the last place. CUT TO: INT. BAR - DAY TONY: (LAUGHS) Completely serious, Kate. I mean, strip clubs are good for more than just fraternity bashes and bachelor parties. KATE: Yeah, you honestly think Bar Mitzvahs are appropriate? TONY: Oh, trust me. That one says welcome to manhood as perfectly as a skillful lap dance. Speaking of. Hello. EMPLOYEE: We don't open until six. TONY: And you're working here instead of catching rays at the beach in a thong. I know it's cold out. Probably too cold. You do wear a thong, don't you? KATE: Tony... TONY: Sorry. It's my humor. Not for everyone. NCIS Naval Criminal Investi-- EMPLOYEE: Yeah, I know what it means. What do you want? KATE: (V.O.) Tony. TONY: Well... KATE: Tony! TONY: What?! KATE: This is the girl playing the drums, isn't it? EMPLOYEE: Yeah, she hasn't been here the last three nights. What happened to her? KATE: Could you tell us her name? EMPLOYEE: Janice Santos. She isn't sleeping, is she? TONY: Not sleeping. EMPLOYEE: Oh, my god. KATE: We need an address. EMPLOYEE: What happened to her? TONY: She was rped and mrder. EMPLOYEE: Some man rped and mrder her? TONY: Yeah, it wasn't me. We're trying to catch the bastard. EMPLOYEE: Sorry. It's just a...shock. KATE: Any ideas who could have done this? EMPLOYEE: No. God, no. TONY: Do you have the address? EMPLOYEE: Yeah, of course. I'll get it for you. TONY: She took that hard. KATE: Yeah. She sure did. CUT TO: INT. LAB - DAY CLUXTON: The writing looks the same to me, Special Agent McGee. MCGEE: Yeah, it's pretty similar, Petty Officer Cluxton. ABBY: There are slight discrepancies, within the range that a person's handwriting would change in ten years, Special Agent McGee. CLUXTON: What's this? MCGEE: Oh, that's a polarizing light microscope. Let me show you how to use it. ABBY: If you touch that, McGee, you'll be singing soprano. MCGEE: (WHISPERS) Yeah. Abby's under a lot of pressure. CLUXTON: What are you doing to the note? ABBY: Are you writing a book? CLUXTON: I'm just interested, Ma'am. ABBY: Looking for prints. MCGEE: The fumes are from heated super blue. In its gaseous form, its bonding capabilities enable us to obtain fingerprints. ABBY: Nothing. CLUXTON: Well, I'd better get back to Norfolk. Thanks for letting me observe, Ma'am. ABBY: Anytime. Look, not anytime. Sometime. Maybe. CLUXTON: Good seeing you again, Special Agent McGee. MCGEE: Likewise, Petty Officer Cluxton. (CLUXTON WALKS O.S.) ABBY: So are you two that formal when you're exchanging bodily fluids? CUT TO: INT. APARTMENT - DAY (DOOR OPENS) TONY: (V.O.) Stay outside, Sir. (MUSIC OVER ACTION/TONY AND KATE WALK THROUGH THE APARTMENT) TONY: Did Janice Santos always keep the place so empty? MANAGER: I don't know. KATE: No clothes. There are n personal effects. This place has been cleaned. TONY: We'd better call Gibbs. CUT TO: INT. STAIRCASE - DAY GIBBS: (INTO PHONE) Well, DiNozzo, at least I can tell Ducky you I.D.ed Jane Doe number two. If her apartment's that clean, this Janice Santos probably knew her kller. When you're finished with the crime scene, bring everything back here. See you at Abby's in the morning. CUT TO: INT. NCIS LAB - DAY ABBY: DNA processing could take several days. But knowing the hyper-emergency of the case, I processed all of the sperm samples in just thirty-seven hours. GIBBS: Is it gonna be another thirty-seven before we get some results? ABBY: Okay, DNA off the first note matched the sperm. The kller wrote it. The second note... no prints... no DNA. KATE: What about the handwriting? ABBY: It could be a match. I sent a copy to an expert I met at a forensics conference in the Greenbrier. It's such a sweet place. They have golf, tennis, falconry... DUCKY: Falconry!? I hunted with a falcon in Scotland in my youth. ABBY: It's so cool. DUCKY: Yeah. Almost a lost art, I'm afraid. GIBBS: Like forensic reporting? ABBY: Okay, moving on to saliva, always a crowd pleaser. There is no way Chief Goetz's DNA comes close to matching the sperm. TONY: I guess you were right, boss. GIBBS: You guess? TONY: I know. GIBBS: Abby, why did you call us all in here when you have nothing? ABBY: But I do. I matched the DNA off the hair from the brush McGee gave me. Hellooo, Mister Wilson! The DNA matches the sperm found in both victims. GIBBS: That's impossible. Wilson had been dad weeks when Janice Santos was rped. ABBY: DNA does not lie. GIBBS: Hey. TONY: Hey, he died before she did, Boss! I swear. MCGEE: Boss, what if ... what if Wilson's semen was inserted in Janice Santos after she was mrder? KATE: Eww! GIBBS: How did the mrder get the semen? DUCKY: (V.O.) Same way I did. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY MCGEE: Looking at the time-code, this was the day before the mrder. GIBBS: What is it, McGee? MCGEE: She's the one. TONY: Well, how can you tell? She's not even near the refrigerator. GIBBS: His gut. MCGEE: No no no. It's not just my gut, Boss. When I was back at Norfolk, Cynthia, Petty Officer Cluxton and I... we were friendly. ABBY: Really? GIBBS: Abby. MCGEE: She liked me... but not that way. TONY: What way would that be, Probie? MCGEE: I didn't ask, Tony, and she didn't tell. TONY: Cluxton's gay? Boss, we I.D.ed Janice Santos in a lesbian bar. MCGEE: There's more. Petty Officer Cluxton used her mother's name. Her father was an NCIS agent before... GIBBS: (OVERLAP) Special Agent Dawes. MCGEE: Boss, I didn't think about this until... I think that's her! GIBBS: That's okay. Run the tape. CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: Janice Santos was your lover. You met her at Flip Side. A lesbian bar. CUT TO: INT. OBSERVATION ROOM - DAY TONY: Which is why the bartender didn't respond to me. CLUXTON: Are you accusing me of being gay, Sir? CUT TO: INT. INTERROGATION ROOM GIBBS: No. No, I'm accusing you of mrder. CLUXTON: mrder? I didn't mrder anyone, Sir. GIBBS: Did she jilt you, Petty Officer? CLUXTON: I have no idea what you're talking about, Sir. GIBBS: It doesn't matter. We have you on tape moving semen from the Jane Doe case your father worked ten years ago. CLUXTON: Can you identify on that tape what I'm removing in the evidence locker, Sir? I can't. GIBBS: You copied the kller's M.O. from your father's case file. CLUXTON: I'm not sure where my father's case files are, Sir. GIBBS: You strangled Janice Santos, put her in a Navy uniform, carved a trident in her neck, inserted semen from the first mrder in her vagina. CLUXTON: Not true. None of it, Sir. GIBBS: Even left a note like the one found at the first crime scene. CLUXTON: I didn't leave that note. I found it. GIBBS: So who klled Janice Santos? CLUXTON: Obviously whoever mrder the Jane Doe ten years ago, Sir. GIBBS: No, not whoever. His name is Harlan Wilson. A former Machinist Mate stationed at Norfolk. CLUXTON: You caught him, Sir. GIBBS: No. No, but we matched his DNA to semen found in both victims. CLUXTON: And why are you accusing me? GIBBS: Harlan Wilson died five weeks before you klled Janice. CLUXTON: (b*at) Damn! Damn! (SHOUTS) Damn! CUT TO: EXT. CEMETERY - DAY DUCKY: It's time for our relationship to change, my dear. It's time for you to go home. But it's not the home you knew in this life, but I think you'll find peace here. From the way things turned out, so will I. (MUSIC OVER ENDING CREDITS AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x04 - Lt. Jane Doe"}	foreverdreaming
FADE IN: EXT. RANGE 400 - DAY (CAMERA PANS AROUND THE JUNK PILE) CUT TO: INT. brned OUT CAR - DAY (MUSIC OVER ACTION/GERA AWAKENS AND LOOKS AROUND THE CAR) PILOT: (V.O./FILTERED) Charlie Six, this is Viper One One. CUT TO: EXT. HUMMER - DAY STINSON: (INTO RADIO) Viper One One. Clear hut. PILOT: (V.O./FILTERED) Roger, Charlie Six. Clear hut.(GERA KICKS OUT THE DOOR/ BREAKS OUT AND RUNS ACROSS THE RANGE) CUT TO: EXT. HUMVEE - DAY STARLING: Call it off! Call it off! Abort! Abort! Abort! There's someone in the hot zone! Man running! Incoming! STINSON: (INTO RADIO/OVERLAP) Abort! Abort! Man down! Man down! (SFX: bmb EXPLODE B.G.) (FADE OUT) (THEME MUSIC OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. NAVAL GYM - DAY "THE BONE YARD"(MUSIC OVER ACTION/KATE STRETCHES TO THE MUSIC) MCGEE: Wow, she's pretty flexible. TONY: Just don't let her catch you looking at her, Probie. MCGEE: I think she saw me. She gave me that look. TONY: What look? MCGEE: The look she's always giving you. TONY: Yep. She saw you. Hope you wore a cup. GIBBS: Okay, welcome to my version of close combat training. McGee? MCGEE: Yeah? GIBBS: You start with Kate. Go on! All right, you and me in the ring today. TONY: Are you sure about that? I've been taking classes. GIBBS: In what? TONY: Boxing. (CAMERA ANGLE ON KATE AND MCGEE) KATE: We're grappling today. MCGEE: You want to grapple? KATE: Yeah, you have a problem with that? MCGEE: No, it's just... you know, I did some wrestling in high school. KATE: Did you, now? (MUSIC OVER ACTION/KATE AND MCGEE WRESTLE) TONY: Whoo whoo! Come on buddy.(MUSIC OVER ACTION/TONY AND GIBBS FIGHT) GIBBS: Not bad, DiNozzo. TONY: Thanks. You learn how to box in the Marines? GIBBS: Nope. Corps doesn't teach boxing. TONY: That's your loss. (GIBBS KNOCKS TONY TO THE MAT) GIBBS: They teach fighting. (SFX: PHONE RINGS) TONY: (GASPS) Your phone. GIBBS: (INTO PHONE) Gibbs. (CAMERA ANGLE ON KATE AND MCGEE FIGHTING) MCGEE: Ah! Ah! Ah! KATE: Did I mention I was handpicked to protect the President of the United States? MCGEE: Five times! TONY: Are you going to take that abuse, McGee? MCGEE: No! (MCGEE FLIPS KATE TO THE MAT) KATE: That's more like it, McGee. Why were you holding back? MCGEE: Well, you're a... I mean, I've never wrestled a... KATE: A girl? Tony, I look like a girl to you? TONY: All I see are two NCIS Special Agents. KATE: Me, too. (KATE KNEES MCGEE IN THE GROIN) (SFX: MCGEE GASPS/ MOANS B.G.) GIBBS: Training's over. We're heading to Quantico. Guy tried to outrun a five hundred pound bmb. KATE: And? GIBBS: He lost. TONY: Hey, she had three older brothers growing up. I think there's some unresolved issues there. MCGEE: You think? CUT TO: EXT. RANGE 400 - DAY (SFX: CAR BRAKES TO A STOP) GIBBS: Break out the gear. I'm going to find out who's in charge of this circus. KATE: You didn't have to stop like that. TONY: I know that. Sorry about that, Probie. But it's your fault. MCGEE: My fault? TONY: Yeah, the brakes grab. It's your job to see the vehicle's in perfect running condition. (SFX: CAR DOORS CLOSE) DE LUCA: You should have called. I could have saved you guys a trip. GIBBS: Why don't we start with... who the hell are you? DE LUCA: gn Sergeant De Luca, C-I-D. GIBBS: Is this your idea of how to run a crime scene, gn Sergeant? DE LUCA: Nope, it's my idea of how to run an accidental death investigation, Special Agent. GIBBS: Gibbs. DE LUCA: Well, a civilian decided to trespass in the wrong place at the wrong time. Marines didn't spot him until it was too late. GIBBS: What was a civilian doing down there, gn? DE LUCA: My guess, he was a scavenger. Lot of metal and scrap iron's been dumped here over the years. GIBBS: Enough to risk blwing yourself up over? DE LUCA: I didn't say he was smart, Agent Gibbs. But hey, you want NCIS to handle the paperwork on this one? Fine. GIBBS: Get down there and secure the scene. DE LUCA: Just make sure your people stay inside the marked areas cleared by E-O-D. I don't need another dad civilian on my hands. (DE LUCA WALKS O.S.) KATE: Attractive. GIBBS: I want everybody off this range except E-O-D personnel. TONY: : What about Mister Potato Head? GIBBS: No, he stays. With luck, he'll spit on my boots. KATE: Looking for a reason to whack him in the head, Gibbs? GIBBS: No. To sh*t him. KATE: Tony, didn't you tell me that you worked a case on a live impact range once? TONY: Yeah, that's right. Fort A.P. Hill. Tragic. MCGEE: What happened? TONY: E-O-D missed ordnance marking the path. Boom! Agent walking point, a Probie, of course, blew his foot off. MCGEE: You're kidding, right? TONY: Ha! Of course I'm kidding... Probie. CUT TO: EXT. DOWN RANGE - DAY (SFX: TONY WHISPERS TO KATE B.G.) TONY: We're right behind you, buddy! KATE: You're doing great. TONY: Some of them are buried under the ground. CUT TO: EXT. IMPACT AREA - DAY DUCKY: Judging by the shrapnel pattern, I'd say our young victim was running when he was ht. JIMMY: How can you tell, Doctor? DUCKY: Oh, I've seen far too many of these types of wounds during my tour in Vietnam. GIBBS: How about the bruising on his wrists and face, Duck? DUCKY: It's possible it was caused by blast concussion. We'll know more when we get him back. TONY: This guy was no scavenger, Boss. Salvatore Ferragamo's. GIBBS: What? TONY: Italian shoes, expensive. The pair I got cost almost five hundred bucks. Well, not everybody shops at Wal-Mart. I'm not saying you shop at Walmart... or even if that's a bad thing. GIBBS: How's it going, Kate? KATE: Almost finished. I've got McGee doing measurements. What are you doing? GIBBS: Following our victim's prints. They came from over there. KATE: Well how'd he get down here? We're at least five miles from the nearest civilian road. GIBBS: Someone dropped him off. DE LUCA: Hey, that area hasn't been cleared yet! Agent Gibbs! Hey, are you trying to get yourself klled!? Are you deaf or nuts!?(GIBBS AND DE LUCA MOVE TO THE CAR) GIBBS: A little of both. You still think this was an accident, gn? MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY DUCKY: Jimmy, run this up to Abby for me. JIMMY: Uh, sure. Would it be okay if I stayed and chatted with her for a while, Doctor? DUCKY: We're rather busy at the moment. JIMMY: Okay, so you're saying that uh...... it's not okay then? Sorry, it's the accent. It kind of throws me off sometimes. (SFX: DOORS SLIDE OPEN) DUCKY: He means well, but often I have an overwhelming urge to slap him. Is that wrong? GIBBS: I do it all the time. DUCKY: So I've noticed. But only on the back of the head. GIBBS: A slap in the face would be humiliating. Back of the head's a wake up call. Looks like he got both. DUCKY: You were right. His facial injuries weren't from the bmb. Our victim received a rather savage beating before his death. GIBBS: And our crispy critter? DUCKY: He wasn't brned by today's explsin. Tests indicate the poor chap's been deceased at least six months. GIBBS: There are more bodies out there. DUCKY: Yes, I was afraid of that. GIBBS: We've stumbled onto a bone yard, Duck. DUCKY: Yeah. GIBBS: A serial kller's dumping ground. (MUSIC OUT) MUSIC IN: EXT. RANGE 400 - DAY MARINE: Hey gn! DE LUCA: Let me get back to you. Yo! MARINE: Have a look. DE LUCA: What have we got here? Well, that's not good. You hear that? (SFX: HISSING) MARINE: What is it? DE LUCA: Oh. (SHOUTS) Evac! Go! Go! Go! Go! Come on, go! Go! (SFX: mssile EXPLODES) DE LUCA: Well, at least I get to give Gibbs the finger. CUT TO: INT. LAB - DAY ABBY: I hear Kate kicked your butt this morning, McGee. . MCGEE: Well, you heard wrong. It wasn't my butt ABBY: She kicked you in the-- MCGEE: Yeah! I thought I was joining a federal agency, not reliving my junior year in high school. ABBY: Just remember, they trture you because they care. MCGEE: So if I make them dislike me? ABBY: It'll only get worse. MCGEE: That's what I thought. ABBY: Hey! I just I.D.'d your body. And he's cute. MCGEE: He's dad. ABBY: I know. MCGEE: He's also a major criminal. ABBY: What can I say, I'm attracted to that bad boy type... no, way! I'm getting hacked! (SFX: COMPUTER BEEP TONES) MCGEE: A port scan? ABBY: No. No this is major. They've already brned through the NCIS public firewall. MCGEE: Well, isolate the node and dump it on the other side of the router. ABBY: I'm trying! It's moving too fast! MCGEE: This is not good. It's using our connection with the AFIS database. Sever it. ABBY: I can't. It's a point attck. He or she is only going after my machine. MCGEE: It's not possible. This is D-O-D Level Nine encryption. It would take months to... TONY: Hey, what is that? A video game? ABBY: No, Tony! We're getting hacked! MCGEE: If they get into Abby's computer, the entire NCIS network is next. ABBY: I can't stop him. Do something, McGee! MCGEE: I've... I've never seen code like this. (SFX: COMPUTER POWER OUT) MCGEE: Ah, way to go, Abby! ABBY: I didn't do anything! I thought you did. MCGEE: No. GIBBS: I did. What the hell is going on here? MCGEE: We were pulling a fingerprint match from the AFIS database and we set of some kind of cyber attck. ABBY: They were definitely waiting for us. TONY: Who? ABBY: Well, I don't know, Tony. And right now I'm afraid to turn my machine back on. MCGEE: And the speed that they were cracking our encryption at. I mean, there's only a few computers in the world with that type of power. GIBBS: Name them. MCGEE: Well, the... the CERN Institute in Geneva, IBM's research facility, rumors of a few in China. GIBBS: Oh, good. So it should be easy to find them. Where is my match? TONY: China! Do you want some? MCGEE: Thanks. ABBY: Whoever this guy is, he's got friends in high places, Gibbs. CUT TO: INT. SQUAD ROOM - DAY KATE: (V.O.) Victor Gera. A-K-A Guido Valentino. Career criminal. MCGEE: Guido Valentino? KATE: That's the alias he used in L.A. TONY: Started running numbers in Chicago as a kid. Moved on to jacking cars as a teen. Graduated to drug dealing on the West Coast. KATE: Six months ago he showed up in D.C. GIBBS: Mafia? MCGEE: With names like Vic Gera and Guido Valentino? What else? TONY: Probie! In case you forget. My names Tony DiNozzo. Italiano. It doesn't make me Mafia, now does it? MCGEE: No, of course not. I'm sorry. TONY: Prego. GIBBS: McGee, what's the connection between a small time hood and a super computer? MCGEE: Well, I have no idea, boss. GIBBS: Ooh, wrong answer. MCGEE: I'll go look for the right one now. KATE: Why would the mob, or anyone, stash bodies at a Marine bmb range? GIBBS: Because it's the last place they'd look for them. TONY: Who'd be nuts enough to go down there looking for bodies? (SFX: PHONE RINGS) KATE: Besides us? GIBBS: (INTO PHONE) Yeah, Gibbs. (LOUDLY) You did what? I'm on my way! (TO KATE AND TONY) That was gn Sergeant De Luca. He's not done screwing up my investigation. (GIBBS WALKS O.S.) KATE: Wow. I thought you were the only one that could piss him off like that. TONY: You never met his second wife. CUT TO: INT. NCIS GARAGE - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) GIBBS: I told you not to touch anything without my M.E. being present! DE LUCA: I didn't really have much of a choice. It was near an unstable Javelin round. It liked to kll me and another Marine when it exploded. GIBBS: Do you have a body that goes with this? DE LUCA: I think it was destroyed during the explsin. GIBBS: You think? DE LUCA: Look, E.O.D kicked me off the range. That whole entire area's been declared off limits until it's been cleared. GIBBS: How long? DE LUCA: Gibbs, there's decades of unexploded ordnance down there. My guess. Three weeks minimum. (bat) You're welcome, Agent Gibbs. (GIBBS WALKS O.S.) (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) GIBBS: gn, are you coming?! CUT TO: INT. NCIS LAB - NIGHT ABBY: I set up a virtual model emulating my system. He comes back again, we can dump him into it. MCGEE: It won't fool him for long. ABBY: All I need is a minute to back-trace his connection. Okay, I'm ready. Plug me in, McGee. Round two. He's still there. He's coming on strong. Initiating my back trace. Now! (SFX: COMPUTER BEEP TONES B.G.) MCGEE: Oh, this guy is good. He's almost made it through your little virtual world. ABBY: Yeah, I'm better. Oh! Gotcha! Ha! Now let's see who we're dealing with.(SFX: BEEP TONES) MCGEE: Oh, my god. ABBY: Gibbs is going to kll you. MCGEE: kll me? Why? ABBY: I'm not going to tell him. CUT TO: INT. SQUAD ROOM - NIGHT KATE: E.O.D has cleared about ten percent of the range so far. In this small area and in a relatively short span of time, we found three bodies. Do the math and we could be looking at potentially thirty or more victims concealed down there. GIBBS: gn, I want you to coordinate with the Provost Martial. I want a cordon around that range twenty four hours a day. DE LUCA: Agent Gibbs, that's a lot of man power. Do you really think-- GIBBS: Then you'd better get moving. DE LUCA: Right. (GIBBS WALKS O.S.) DE LUCA: Is there some secret to getting on his good side? TONY: Oh, there's no secret. KATE: He doesn't have one. MCGEE: Ah, excuse me, boss. GIBBS: What? MCGEE: We completed the back-trace on the intruder's system. GIBBS: Yeah? MCGEE: Yeah, and uh... well, the thing is... (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) MCGEE: That... FORNELL: It's me. Why is NCIS interested in Vic Gera, Gibbs? GIBBS: Who says we were interested in him? FORNELL: You ran his prints through AFIS. Where did you get them? GIBBS: He gave them to us. CHARLES: You have him in custody? GIBBS: Technically speaking. CUT TO: INT. AUTOPSY ROOM - NIGHT FORNELL: Where'd you find him? GIBBS: On a live fre range at Quantico. KATE: He was klled in a practice bmb drop this morning. TONY: Is he Mafia? FORNELL: He's an undercover FBI agent, DiNozzo. CHARLES: When we saw your print search, we were hoping Vic was alive. FORNELL: I want his kller, Gibbs. GIBBS: Is that an offer for a joint investigation? FORNELL: I can't. GIBBS: Kate, Tony, escort our guests out. FORNELL: I need to talk to you alone. GIBBS: Our usual conference room? (FORNELL AND GIBBS WALK O.S.) (SFX: DOORS SLIDE OPEN) KATE: What's going on? Fornell seems unusually upset. TONY: For an FBI agent. CHARLES: How would you feel if one of your team was lying on a slab? TONY: Depends... on who it was. CHARLES: Are you always a smart ass? TONY: Just to you boys from the Hoover building. CUT TO: INT. ELEVATOR - NIGHT (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) GIBBS: I'm listening. FORNELL: Jimmy Napalitano. You know him? GIBBS: Fat little Mafioso, runs the business in Maryland, Virginia, and D.C. FORNELL: I've spent half my career trying to put that bastard behind bars. Three trials, three times he walked on a technicality. GIBBS: Tough to be sympathetic, considering you let Ari go. FORNELL: Ari's a valuable intelligence asset, Gibbs. Napalitano is nothing but a cheap hood. GIBBS: Ari sht one of my people, kidnapped one of my agents and put a round through me. I don't see the difference, Fornell. FORNELL: I knew this was a waste of time. GIBBS: At least we agree on something.(SFX: ELEVATOR STOPS) FORNELL: Did anyone ever tell you you were an insufferable bastard? GIBBS: Yeah. FORNELL: Damn it, Jethro. I came here because I need your help. GIBBS: I offered a joint investigation. You turned it down. FORNELL: I couldn't say anything in front of those agents. GIBBS: You don't trust them? FORNELL: Napalitano's always been a step ahead of me. Every informant, every agent I get close to ends up like that kid downstairs. No one's that lucky. GIBBS: He's got a mole in the Bureau. FORNELL: Or someone with access to my operations. GIBBS: Why not take it to Internal Affairs? FORNELL: They can't help me. GIBBS: But I can? FORNELL: Realizing how sad this sounds, you're the closet thing I have to a friend, Gibbs. GIBBS: You dying or something? Okay, not dying. Is this some part of a twelve step program? FORNELL: Look, are you going to help me or not? GIBBS: I'm thinking about it. FORNELL: It's settled then.(ELEVATOR STARTS) GIBBS: This isn't your style, Tobias. FORNELL: I know it. The Bureau believes that the mole who put my man on your slab... (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) FORNELL: ... is me. CHARLES: Sorry, Tobias. (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) (MUSIC OUT) FADE IN: INT. MTAC ROOM - DAY RICKEY: (ON MONITOR) Hey, Tiffany! Enough with the smoking already! TIFFANY: (ON MONITOR) Get off my back, Rickey. RICKEY: (ON MONITOR) I'm paying you to dance, not get lung cancer! TIFFANY: (ON MONITOR) All right, all ready! BALDUCCI: (ON MONITOR) I thought Tiffany was your numero uno. RICKEY: (ON MONITOR) Nah, I dumped her. BALDUCCI: (ON MONITOR) Rickey, how do you dump something that looks like that? RICKEY: (ON MONITOR) Easy. Badda-bing. Badda-boom. Ciao! TONY: I've got to remember that one. CHARLES: The comedian's Napalitano's son, Little Rickey. TONY: Who's the muscle with him? CHARLES: Sal Balducci. Napalitano's enforcer. And that's the man himself. Jimmy Napalitano. A-K-A Jimmy Naps. He's politically connected and has the finest lawyers money can buy. He's virtually untouchable. JIMMY: We got a problem. RICKEY: (ON MONITOR) What kind of problem, Pops? JIMMY: (ON MONITOR) Not here. Inside. TONY: You got ears inside? CHARLES: No. Jimmy Naps is high-tech. Camera two, get me tight on the thug by the rear entrance. They find our bugs and wire taps before we finish installing them. GIBBS: Or your mole tips them off. CHARLES: There's no mole. Jimmy Naps set Fornell up. They study us like we study them. Rumor has it they have dossiers on all of us. They even know we're watching them right now. Camera one, show me Abe. Hello, Abe. TONY: Abe? CHARLES: As in Vigoda. That's the FBI call sign for him. TONY: Oh, yeah. It does sort of look like him. (WITH ACCENT) "Tom, can you get me off... for old times sake?" CHARLES: (WITH ACCENT) "Sorry, Solly. No can do." GIBBS: You two through? CHARLES: Sorry. The point is, Agent Gibbs, it's impossible to get near them. GIBBS: Agent Gera did. CHARLES: And he's dad. CUT TO: INT. HOLDING CELL - DAY GIBBS: Not much of a view. FORNELL: Kind of reminds me of your basement. GIBBS: It's not dark enough. FORNELL: Did you see the Bureau's case against me? GIBBS: You know that your people won't share files with us. FORNELL: What's this supposed to be? GIBBS: Coffee. FORNELL: I'll take your word for it. They found two kilos of coke and fifty grand in counterfeit bills in my freezer. I thought the coke in ice cream quarts was a nice touch. GIBBS: It's an expensive one. Jimmy Naps has gone to a lot of trouble to frame you, Tobias. FORNELL: I know. He knew I was vulnerable. GIBBS: Vulnerable how? FORNELL: Ari. GIBBS: You're laying this on me, huh? FORNELL: I arranged your meeting with him, Jethro. He's our only agent inside Al Qaeda. And what did you do? You sht him! GIBBS: I could have klled him. Putting a round in his shoulder helped sell his cover to Al Qaeda. FORNELL: Why don't you explain that to the Director? He didn't buy it when I did. GIBBS: Okay, if you think it'll do any good.(SFX: GIBBS LAUGHS) FORNELL: I'm not getting out of this, am I? GIBBS: You'll get out of it. It just may not be the way you'd like. CUT TO: INT. AUTOPSY LAB - DAY (SFX: DOORS SLIDE OPEN) GIBBS: Duck! What have you got for me? DUCKY: Ah! I've identified our second victim from the dental charts supplied by the FBI. His name's Frank Pilato. CHARLES: Frankie P. He was to testify against Napalitano five years ago. He disappeared walking his dog on a Sunday afternoon. DUCKY: Yeah, those Sunday afternoon strolls can be dangerous. KATE: Ducky, I thought you said the test indicated he was dad five or six months ago. DUCKY: I did. Anyone care to guess how he died? TONY: I'm going to go out on a limb here and say something to do with flames. DUCKY: And you'd be wrong, Tony. His throat was slit. KATE: Bled to death. DUCKY: Actually, no, Kate. GIBBS: Lead poisoning. DUCKY: Three nine millimeter slugs to be exact. Administered at close range. GIBBS: He was kidnapped in ninety nine. Wasn't sht until a few months ago? DUCKY: He was most likely excuted years ago. His body has only recently been exposed to the elements. Excuse me. His blood was drained after death and his body frozen. CHARLES: Jimmy Nap's version of the ice man. They stashed the body in a cooler somewhere and then dumped it years later when everyone stopped looking. TONY: Yeesh, sht, throat slit, frozen, then brned? Jimmy Naps definitely didn't like this dude. DUCKY: The Mafia does tend to have a flare for the dramatic, Tony. GIBBS: Anything on the finger parts gn De Luca picked up on the range? DUCKY: I'm good, Jethro, but not that good. I sent them up to Abby. GIBBS: Kate, Tony. TONY: On it, Boss. GIBBS: Agent Charles, can you get me the Bureau file on Fornell? CHARLES: I haven't even seen it. If I get caught, I'm finished as a Federal Agent. GIBBS: Don't get caught. CUT TO: INT. LAB - DAY ABBY: You know what I think, McGee? MCGEE: What? ABBY: I think you're more interested in me than what I'm doing. MCGEE: That's not true! Not that I'm not interested in you. I am. But I'm more interested in... the work. Well, how could you say that? ABBY: Because what I'm looking at through the microscope. MCGEE: Yeah. ABBY: Is up there on that screen. MCGEE: Hey guys! ABBY: You here for the finger or the blood? KATE: What blood? ABBY: I found two types on Agent Gera's face. One is his. One is not. KATE: So if he was beaten, you know, kind of like the way you were yesterday by Gibbs? It could be the kller's. TONY: Kate-Kate-Kate, when I let Gibbs win, we all win. And if I bat the crap out of him, who do you think he's going to take it out on? Oh, that's right, all of us! MCGEE: So you took a dive for the team? TONY: Of course, McGee. KATE: It's good to know. GIBBS: It sure is. Turn around. TONY: I'm waiting for you to slap the back of my head, boss. GIBBS: I'm not going to slap your head. TONY: You're not? GIBBS: What, you don't think I have a sense of humor? Abs, I want a DNA on the unknown blood. ABBY: I already started it. GIBBS: Okay, what about the finger. Any idea how long it was on the range? ABBY: Well, ordinarily you can't date bones unless it's been in the ground long enough to soak up fluorine which is like hundreds of years. But sometimes being in a place where things get blown up all the time is a good thing. I swabbed the finger for explsives and I found traces of one. Mercury fulminate, which was completely phased out by the military by nineteen eighty six. KATE: Well, that means the mafia must have been dumping bodies down there for... MCGEE: At least eighteen years. KATE: Thank you, McGee. GIBBS: Good job, Abs. McGee, find a way to get Little Rickey's DNA. MCGEE: Okay.(GIBBS HITS TONY) GIBBS: It's no fun if you know it's coming. TONY: Ow! (TONY HITS McGEE) MCGEE: What was that for? TONY: Ah-ha! That's for eating my sandwich. CUT TO: INT. SQUAD ROOM - DAY MCGEE: I know how to get Little Rickey's DNA. TONY: Are you going to sleep with him? MCGEE: He was ht with two paternity suits in the last five years. bat them both with a DNA test. TONY: Ha, nice try, Probie. But those tests are sealed court records. KATE: Those court records are sealed, McGee. TONY: Hey, that's what I just said. First! MCGEE: But not the records from the lab that he used. It's downtown. TONY: You'll never get a judge to sign off on that warrant. KATE: Maybe we don't need one. That is, if you're ready to become a father. TONY: I think she's talking to you, Probie. KATE: We go down to the lab and see if I'm carrying your baby. It'll be fun. MCGEE: Oh! And we can steal Little Rickey's DNA test. KATE: Photograph it for Abby. TONY: I'll do it. MCGEE: Why you? TONY: Do you think anyone would believe you actually slept with Kate? (TO GIBBS) Hey, I figured out how to get Little Rickey's DNA records. MCGEE: Oh, you mean I figured out. TONY: Hey, there's no "I" in team, McGee. GIBBS: How? TONY: A paternity clinic downtown. Kate and I can have them in an hour. GIBBS: Go get 'em. Atta boy. TONY: Thank you, Sir. GIBBS: McGee. CHARLES: I got the file on Fornell. GIBBS: Good. CHARLES: Not good. GIBBS: Fornell knew Jimmy Naps was under surveillance. He can explain this. CHARLES: That photo came from an anonymous source. From the newspaper blowup you can see the date. GIBBS: The seventeenth. CHARLES: Tobias had me pull surveillance on the seventeenth. GIBBS: Why? CHARLES: Never said. But it's the day before Agent Gera disappeared. MUSICAL BRIDGE TO: INT. PRISON CELL - DAY (MUSIC OVER ACTION/FORNELL HANGS HIMSELF IN THE CELL) (MUSIC OUT) MUSIC IN: INT. CELL - DAY CHARLES: He didn't hang himself. Not Fornell. That's the coward's way out, and Tobias was no coward! MARSHAL: Only one person was in his cell with him today. CHARLES: Who? MARSHAL: Me. To cut him down. GIBBS: Doctor? EXAMINER: Yes? GIBBS: I would like our M.E., Doctor Mallard, to receive a copy of your autopsy report. EXAMINER: Ducky? Of course. CUT TO: INT. FERTILITY CENTER - DAY KATE: You writin' my name right? TONY: What?! I just want to know if it's mine. She kind of sleeps around a lot, if you know what I mean. KATE: If I did, it's because he ain't any good in bed. TONY: At least I didn't sleep with my cousin. KATE: You slept with my sister. TONY: I thought it was you! KATE: She weighs three hundred pounds. TONY: She was wearing your earrings! NURSE WELLS: That's enough! If you two can't be civil, I'm going to have to ask you to leave. KATE: Look, is there anywhere that I can wait away from him, please? I'm begging you. NURSE WELLS: There's an empty exam room behind you two doors on the right. KATE: Thank you. NURSE WELLS: Mm-hmm. TONY: I'm sorry. (TO PATIENTS) She slept with my brother and my best friend at the same time. CUT TO: INT. RECORDS ROOM - DAY (MUSIC OVER ACTION/KATE PHOTOGRAPHS THE RECORDS) CUT TO: INT. LAB - DAY ABBY: Okay, we've got Rickey's DNA from the clinic. Let's see if we match it to a sample from the crime scene. We're cued up. Initiating DNA match. (SFX: HIGH COMPUTER BEEP TONES) ABBY: That's it. It's Rickey Napalitano's blood. GIBBS: Thanks, Abs. TONY: We made a good couple, Kate. KATE: For the Jerry Springer show. ABBY: Dig your threads. CUT TO: INT. CAR - MOVING JIMMY: You gotta be kidding me. Unfreakin' believable. He whacked himself? RICKEY: Yeah, poor Fornell. We won't see him no more, pops. (SFX: POLICE SIREN) SAL: Hey, this guy's pulling us over, boss. JIMMY: If I find out we got a busted taillight or something, Sally Boy, it's your ass. CUT TO: EXT. STREET - DAY (SFX: CAR DOORS OPEN/CLOSE) SAL: Is there a problem, officer? OFFICER: You're talking to the wrong person. TONY: Bona sera. We've got a warrant for your arrest, Little Dickey. RICKEY: It's Rickey. TONY: It's mrder, Dicky. Come on. GIBBS: Come on, get out. JIMMY: All right. TONY: Hands on the hood, big guy. Stand up. RICKEY: Who the hell are you guys anyway? FBI? KATE: NCIS. RICKEY: Meat inspectors? JIMMY: Shut up, Rickey, will you? They're Navy cops. GIBBS: Turn around. RICKEY: Arrested by Navy cops!? Talk about embarrassing. At least you're hot, sweetheart. (KATE PUSHES RICKEY ONTO THE HOOD OF THE CAR) RICKEY: Ow! Ow! Ow! Oh, take it easy. Take it easy. TONY: Now that's embarrassing. RICKEY: Ow! KATE: Go! JIMMY: All right, don't worry. Don't worry, all right, Rickey? Our lawyers will take care of this. (TO GIBBS) Ah, I don't think we've met, Agent.. GIBBS: Special Agent ...Gibbs. JIMMY: Special Agent Gibbs. So who is it my son was supposed to have whacked? GIBBS: An FBI agent, Victor Gera. JIMMY: I remember something about that. Something happened to him on a Marine base. What was it? SAL: Yeah, he got klled by a bmb. JIMMY: A bmb! Yeah. Yeah, suppose...God forbid, that my son could be connected to this accident, what would you charge him with, Special Agent Gibbs? GIBBS: Manslaughter. JIMMY: Manslaughter? Manslaughter. What's the worse you can get with that, Sally? SAL: Four years. Does one. JIMMY: It might do the kid some good. Season him up a bit. GIBBS: Jail can be a dangerous place. JIMMY: So they tell me. Yeah. You know, you remind me of somebody, Special Agent Gibbs. Somebody... who was that guy who was always talking trash. That Fed... SAL: Fornell. JIMMY: Oh, yeah. Fornell. That's it. Yeah, whatever happened to him? SAL: I think he hung himself. Real sad. JIMMY: Oh, yes. It's terrible. All that ambition and everything. And he ends up doing the twist. (JIMMY LAUGHS) (GIBBS PUSHES JIMMY AGAINST THE CAR) GIBBS: I get the Government agent on your payroll by sunup, dirt bag, or Little Rickey does the twist. JIMMY: Say I do this, all right? What do I get? GIBBS: I deliver Little Rickey to you. The evidence against him gets lost, and you never see me again. JIMMY: You'd do all this just to clear Fornell's name? GIBBS: He was my friend. CUT TO: INT. SQUAD ROOM - NIGHT CHARLES: You can't thrat to kll someone in custody, Gibbs. GIBBS: It wasn't a thrat. CHARLES: You'd really do it? GIBBS: Hey, you want to clear Tobias's name? CHARLES: Hell, yes. But not by letting Little Rickey off for Vic's mrder. GIBBS: He'll screw up again. CHARLES: You think Jimmy Naps is going to make a swap and just let you walk away? GIBBS: I hope not. (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Gibbs. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) JIMMY: (INTO PHONE) Rear of the club. One hour. Lose the Feds in the building and in the alley. (SCENE CUT) GIBBS: (INTO PHONE) Oh, I can't do that. I'm operating on my own hook. Pick another place. (SCENE CUT) JIMMY: (INTO PHONE) You want me to pick a place? (SCENE CUT) GIBBS: (INTO PHONE) I'm trying to show you there are no tricks here, Jimmy Boy. (SCENE CUT) JIMMY: (INTO PHONE) Coleman Park. You know it? (SCENE CUT) GIBBS: (INTO PHONE) Yeah. Yeah, I know it. (SCENE CUT) JIMMY: (INTO PHONE) Come alone. (SCENE CUT) GIBBS: (LAUGHS) (INTO PHONE) I'm not that stupid. (SCENE CUT) JIMMY: (INTO PHONE) All right, we each bring a man. (SCENE CUT) GIBBS: (INTO PHONE) One hour. (SCENE CUT) JIMMY: (INTO PHONE) And Gibbs, you hurt my boy, I'll kll your brothers, your uncles, your father... (SCENE CUT) JIMMY: (V.O./FILTERED) ... and after their funerals, I'll kll you. GIBBS: (INTO PHONE) No brothers, no uncles, my father passed years ago. I do have three ex-wives whose names and addresses I will gladly fax on to you. (SFX: HANGS UP PHONE) GIBBS: Oh. He hung up. (KATE/TONY AND MCGEE PICK UP THEIR gn) GIBBS: Whoa. Where do you three think you're going? TONY/KATE AND MCGEE: (IN UNISON) With you, boss. GIBBS: I can bring one backup. TONY: Well clearly you should take me, boss. Probie doesn't know what he's doing. KATE: (OVERLAP) Oh, come on, Tony! Of course he doesn't know what he's doing. MCGEE: (OVERLAP) With all due respect, I do not think... TONY: Kate, with all due respect, you think you can conduct yourself in the field? KATE: Are you kidding, Tony? Why should he bring you? You're a total jackass. I'm the one that came up with the idea... (ALL TALK OVER) (SFX: WHISTLE) GIBBS: Agent Charles is going. CHARLES: Me? TONY: Are you kidding, Boss? He's kidding, right? MCGEE: I don't think he is, Tony. KATE: Gibbs, you need someone-- GIBBS: Someone who can verify the guy that Jimmy Naps turns over is FBI or Justice. Can any of you do that? CHARLES: He's right. I know the players. I go. (SFX: DRAWER SLIDES OPEN/ CLOSED) CUT TO: EXT. PARK - NIGHT RICKEY: These bracelets are klling me. You hear me?! (SFX: CAR BRAKES TO A STOP) (CAR DOORS OPEN/CLOSE) JIMMY: Stay there, Sally. Stay. Stay. Where's my boy? Where's Rickey? (CAR DOOR OPENS/ CLOSES) RICKEY: Pops! JIMMY: Hey, you okay, son? RICKEY: No! Make 'em take these freakin' bracelets off me! GIBBS: Where's your end of the swap? JIMMY: I'll leave my backup in the car. You do the same. Sally, bring him out. SAL: Yeah, I got him. JIMMY: Come on! Let's go! Come on! Chop chop. We haven't got all day. (OLD MAN WALKS FROM THE CAR TO THE CLEARING) CHARLES: That's Abe! JIMMY: Stupido! RICKEY: Pop, I had nothing to do with-- JIMMY: Not you! This jabone. What did you think I was going to do? Let you come in my back yard and walk away with your coglionis? GIBBS: You know what Primacord is Jimmy? JIMMY: Primacord? (SFX: explsin) (SFX: TREE BRANCH FALLS TO THE GROUND) GIBBS: That was Primacord. This is Primacord. RICKEY: Oh! Oh! Pops! GIBBS: And this is a dad-man's switch. JIMMY: Oh, Marone. GIBBS: No, we can still deal, Jimmy. All you have to do is give me your mole's name. (JIMMY LOOKS AT AGENT CHARLES) GIBBS: Yeah, that's what we thought. CHARLES: You dumb Wop! He never would have set it off! The blast would kll him! GIBBS: Who are you going to believe? RICKEY: He's pazzo, Pop. He'll do it. He'll do it. CHARLES: In fact, I think the blast should kll all of you. You should have kept your mouth shut, Napalitano. (SFX: g*n) GIBBS: You lied to me, Jimmy. JIMMY: Oh, like you didn't expect it. I just saved all our lives. Now what? GIBBS: Ciao! RICKEY: Pops! (SHOUTS) Pops! JIMMY: You go to jail. You stay there a couple of years. It'll do you good, son! Come on. Come on. Come on. Let's go. Let's get out of here. Hey, let's go. (SFX: CAR DRIVES O.S.) RICKEY: Get this thing off me. GIBBS: Here. Do it yourself. (SFX: BEEP TONE) (SFX: RICKEY SHOUTS) GIBBS: Boom. CUT TO: INT. SQUAD ROOM - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) TONY: Whatcha doing there, Probie? MCGEE: I'm trying to find what I missed. How did Gibbs know that it was Charles? KATE: You mean you didn't know? TONY: He didn't know. MCGEE: What, you knew? TONY: We're seasoned investigators, McGee. KATE: You have to start thinking outside the box. TONY: Expect the unexpected. GIBBS: Good advice, Tony. FORNELL: Agent Todd, DiNozzo, McGee. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN/ CLOSED) GIBBS: What? (FADE OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x05 - The Bone Yard"}	foreverdreaming
FADE IN: EXT. MARKET PARKING LOT - DAY SARA: Micki! SHIELDS: Hey, Sara! How are you? SARA: Good. How are you? SHIELDS: I missed you at the Parents' Pot Luck. SARA: Oh, Becca had a dance recital. Your turn for snack? SHIELDS: My turn for snack. Can you believe this? If they would concentrate a little less on snacking and a little more on the game, we wouldn't be oh and four. But... SARA: Oh, your cart. Isn't that your S.U.V? SHIELDS: Well, what's another ding. See you at practice. (F/X: CART ROLLS INTO THE SUV) (SFX: HUGE explsin) (FADE TO BLACK) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) FADE IN: EXT. MARKET PARKING LOT - DAY "TERMINAL LEAVE" (SFX: POLICE SIREN B.G.) (SFX: VAN BRAKES TO A SUDDEN STOP) REYES: Hey, where the hell are you going? (bat) Gibbs. Oh you must be Gibbs. Fornell's mentioned you. GIBBS: Did he? REYES: Mm-hmm. Agent Lina Reyes, FBI. GIBBS: Your driver has a lead foot. REYES: Well, we tend to hurry when we suspect terrorism. GIBBS: Well, so do we when the target's a Naval aviator, Agent Reyes. REYES: A Lieutenant Commander Micki Shields. She bmb civilians in Afghanistan. GIBBS: Accidentally. Article Thirty Two hearing cleared her of all charges. REYES: Yeah, by us. Not the psycho's overseas issuing Jihadist thrat against her and her family. Have you spoken to your director? GIBBS: I did. REYES: Good, then we're clear. FBI handles the investigation, NCIS protects the intended target. GIBBS: We want copies of everything you find. Kate, check with Commander Shields. Track down the rest of her family. KATE: On it. GIBBS: DiNozzo, secure her home. I want a full surveillance perimeter. McGee, coordinate all feeds with MTAC. MCGEE: All right, boss. TONY: Oh, sounds like we're going to need the infra-red scope on this one, McGee. MCGEE: The one that can see through walls at night? TONY: It's better than Pay-TV and the best part, it's free. KATE: And that's the reason why, Tony. TONY: Why what, Kate? KATE: You'll never get my home address. SHIELDS: (INTO PHONE) I'm okay, Jen. I promise you. Look, see? I got worse scrapes in ejection seat training. Honestly honey, I'm fine. I've got to go. I'll see you soon. I'm going to make you Cha Cha Chicken for dinner, okay? Okay. (TO KATE) NCIS. So I take it this wasn't an accident? KATE: We're not jumping to any conclusions, but considering all the recent thrat... (FLASHBACK EFFECTS) SHIELDS: I thought I left that wr behind me. My kids could have been in that car! One mistake, one horrible mistake. KATE: I read the report. What happened in Afghanistan wasn't your fault. SHIELDS: Well, right or wrong, it's still something I have to live with. And fog of wr just doesn't cut it when you're looking at ten dad civilians. DAVID: Micki! SHIELDS: Oh, honey. DAVID: Oh, my god. Are you okay? SHIELDS: Yeah I'm fine, sweetheart. DAVID: Thank god. Did you ever think you'd be happy you ran into Sara Turcott in a parking lot? So ... so do we know who did this? KATE: Not yet, Mister Shields. DAVID: Okay, so what? They could try it again? KATE: Well, if they do we'll stop them. NCIS will be providing protection for your family. SHIELDS: Too bad you weren't around to save Libby. DAVID: Are you kidding? Libby? SHIELDS: Yeah. KATE: Who's Libby? SHIELDS: Oh, our dog, Agent Todd. A nasty little thing, but the kids loved her. GIBBS: I'll need copies of the surveillance tapes from the security camera. REYES: You'll get them. GIBBS: Today. REYES: I'll see what I can do. GIBBS: Do you know what terminal leave is, Agent Reyes? REYES: Nope. GIBBS: It's what Commander Shields is on. In four days she'll be a civilian, which means I won't be around to protect her. That's how long you have to solve this case. REYES: You're giving me a deadline? GIBBS: Don't screw up. CUT TO: INT. NCIS LAB - DAY GIBBS: I see something. ABBY: You see speckling, Gibbs. GIBBS: (V.O.) No, I see a guy planting a bmb under her S.U.V. ABBY: Do you know how many times this has been taped over? The VCR heads have scraped it down to the plastic. And let's not forget - taken through a lens that's caked with years of bird droppings. GIBBS: I think you can make a positive I.D. ABBY: I'll try Start Witness. GIBBS: What's that? ABBY: It's an enhancement program. We do a little hm filtering...a little de-interlacing... algorithmic enhancement ...unsharp masking. GIBBS: Yeah, you're getting somewhere now. ABBY: I am, Gibbs. Straight into a brick wall. Whoever it is, he's blocked by the vehicle. GIBBS: The reflection. ABBY: What reflection? GIBBS: Abs, look at the finish of the car next to it. ABBY: You're serious. GIBBS: Abs, look at the door panel. Dark and shiny. You can see your reflection. ABBY: A reflection of whoever planted the bmb. Gibbs... you're hired! GIBBS: (V.O.) Oh, when you walked into a room... CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: I bet must've turned heads just back from the salon with your hair all done up. JIMMY: Doctor, I'm looking at a blood type they sent over. It doesn't match Lieutenant Commander Shields. DUCKY: Is that so? JIMMY: Yeah. They said the only one injured in the explsin was Shields. DUCKY: They did indeed. JIMMY: There's someone unaccounted for. DUCKY: Mister Palmer, what I'm about to show you may force you to reevaluate your theory. JIMMY: French fried poodle. DUCKY: The family pet. Who was, tragically, inside the car. I can just see those FBI forensic weasels sitting around laughing, picturing what I'm going to look like performing a forensic autopsy on this poor creature. JIMMY: What are you going to do? DUCKY: Oh, let them laugh. Alexander The Great had a dog. A Mastiff named Peritas. Yeah, nobody laughed about her. When she died, he led the funeral procession. He built monuments to her. Ordered yearly celebrations in her memory. JIMMY: When I was a kid, I used to bury our pets under our porch until my mom found out. She was pretty upset. DUCKY: They didn't want you to bury your pets? JIMMY: No, we lived on the tenth floor of an apartment building. DUCKY: Right. Ah. JIMMY: What is it, Doctor? DUCKY: You see that? I'm going to take a look. Open this up. Here we go. Get that up to Abby. Oh, you poor thing. This would never have happened to Peritas. CUT TO: INT. LIVING ROOM - DAY GIBBS: I would like for everyone to go about their normal lives as much as possible. McGee? TONY: McGee, systems check. Hey! CUT TO: INT. MTAC - DAY MCGEE: MCGEE: MCGEE: Okay, camera one is up. Camera Two and Three, give me infrared full spectrum sweep. (V.O.) Camera Three. Okay, punch up camera four. (V.O.) Camera Four okay to go. All right. CUT TO: INT. LIVING ROOM - DAY MCGEE: (V.O./FILTERED) We're up and operational, Tony. TONY: Boss. GIBBS: We will try to keep a low profile, but we need your cooperation. If you see anything suspicious, you tell us. JEN: I don't believe this. Can I sleep at Amy's house? GIBBS: Not a good idea. KATE: We'll need advance notice to clear it. (JEN WALKS O.S.) DAVID: It's all been kind of stressful. WILLY: I'm outta here. It's an expression. Bed. TONY: Hey listen, uh... you and me... we're kind of, you know, going to be hanging. WILLY: You are kidding. TONY: It's going to be great. WILLY: It already sucks. MCGEE: Hey yeah. Uh... I remember how I felt when my dog died, Willy. WILLY: Bite me. SHIELDS: Well, I guess we'll turn in, too. It's been kind of stressful. KATE: (OVERLAP) Stressful. SHIELDS: Good night. DAVID: Good night. (KATE AND SHIELDS WALK O.S.) KATE: I'll take the front door. TONY: Then I demand to take the rear. KATE: Tony? TONY: Yes, Kate, dear. KATE: There's only one bathroom downstairs. TONY: And your point is? KATE: The seat stays down! TONY: Unless it's up. (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS/ GIBBS AND ABBY) (SCENE CUT) ABBY: (INTO PHONE) The item that Ducky retrieved from the dog? I put it through X-ray chromatography. There's traces of C-four. (SCENE CUT) GIBBS: It was a bmb. ABBY: (V.O./FILTERED) Yeah. Also... (SCENE CUT) ABBY: (INTO PHONE)...the presence of mercury. Used as a vibration trigger. It's the exact... (SCENE CUT) ABBY: (V.O./FILTERED) ...Same chemical signature as the bmb that... (SCENE CUT) ABBY: (INTO PHONE) ...klled that Naval attaché in Morocco last month. (SCENE CUT) ABBY: (V.O./FILTERED) ...You're dealing with... GIBBS: (INTO PHONE) An Al Qaeda assassination team. (FADE OUT) FADE IN: EXT. HOUSE - DAY KATE: (V.O. SINGS) Sexy as I want to be... CUT TO: INT. BATHROOM - DAY (SFX: SHOWER B.G.) KATE: (SINGS/V.O.) Got these fellas chasing me. Let's go with this freak show. Outrageous. When I move my body. Outrageous. When I'm at a party Outrageous. TONY: (OVERLAP) Outrageous. KATE: Tony! Out of here! Now! TONY: What? I'm just brushing my teeth. Oh hey, don't use up all the hot water. 'Cause you've been in there forever. KATE: (V.O.) Tony, now long have you been in here? TONY: Long enough to know you can't sing and you haven't shaved your legs in a week. (LAUGHS) Outrageous. CUT TO: EXT. NCIS HEADQUARTERS - DAY REYES: (V.O.) The bmb was C-four. CUT TO: INT. NCIS SQUAD ROOM - DAY REYES: Mercury detonator shake charge. We ran the identifying taggants on it and it turns out that it.... GIBBS: Stolen from a military base in Kuwait. REYES: And how do you know that? GIBBS: A French poodle told me. REYES: It's linked to Al Qaeda units overseas. We've identified three individuals in the country who may have links to their cells. Do you know how to use this? GIBBS: Sure. REYES: You have no idea what that is, do you? GIBBS: Not really. REYES: Didn't figure you for a tech type, Gibbs. Kahlid Hassan. Suspected in planning three bmb in North Africa. He was spotted by a Virginia traffic control camera in D.C. last week. Roland Al-- GIBBS: (OVERLAP) Roland Alan Moore. Former Petty Officer. Medically discharged when he lost two fingers in an engine room accident. Put in jail for bmb a recruiting office. REYES: Converted to Islam in prison. GIBBS: And escaped a work detail three months ago. REYES: Well, our computer geeks suspect that he's one of the people posting thrat to Commander Shields on the Islamic website. Fernando Petroya. He owns five ice cream parlors in Montgomery and Charles County. We believe they are money laundering funds for Al Qaeda linked to the Philippines. GIBBS: What's his connection to Commander Shields? REYES: Well, he was sighted in the vicinity of the bmb ten days ago. I mean, it could just be a coincidence. GIBBS: Okay, bring him in for questioning. REYES: I can't do that. If I do it'll tip him off we're on to him. And we are hoping that he will lead us to some of his contacts in the states. GIBBS: While you are hoping I have a Navy family living in fear they'll be excuted on their way to the mall. REYES: If we bring him in, all we're going to get is his name and some B.S. cover story GIBBS: Not if you put him in a room with me. REYES: It's not going to happen. (bat) Sorry. GIBBS: Hey, don't forget your thingymagiggy. REYES: Hold on. It needs to be dis....connected first. You did that on purpose. MUSICAL BRIDGE TO: EXT. HIGH SCHOOL - DAY LYLE: I don't believe this! I bought tickets! It's Green Day! JEN: You're acting like it's my fault. LYLE: Just tell me, are you going to go with me or not? Yes or no? What's it going to be, Jen? JEN: Lyle, don't. LYLE: Half the school is not here today. KATE: Is that so? LYLE: Because of you. (SFX: SCHOOL BELL RINGS) JEN: Thanks. CUT TO: INT. CORRIDOR - DAY KATE: Twenty four, fourteen, two. No. Twenty two, fourteen, twenty. No. (DOOR OPENS) KATE: Where are you going? JEN: Bathroom. What, do you want to watch me pee, Special Agent Todd? MUSICAL BRIDGE TO: INT. BATHROOM - DAY KATE: You had to go really bad, huh? JEN: My parents told me you had to follow me around. Doesn't mean that I have to talk to you. KATE: Do your parents know that you smoke? JEN: No. Are you going to tell them? KATE: Mmm, not if you promise to quit. JEN: Whatever. KATE: You know, you should be flattered. I used to protect the President. JEN: Of what? KATE: The United States. JEN: Really? And now you're protecting me. KATE: And your whole family. JEN: What a waste. Might be four people, but it's not a family. It hasn't been in a long time. (SFX: SCHOOL BELL RINGS) CUT TO: EXT. SOCCER FIELD - DAY WILLY: Ever sht anybody? TONY: Not this week. WILLY: Are you strapping? Oh, a Sig! Dude's got a Sig. TONY: Dude's got a Sig. WILLY: Want to help me warm up? TONY: Yeah. What do you want me to do? WILLY: Just stand there and don't move. TONY: Okay, I think I can do that. All right. Don't move. I'm good at that. (WILLY KICKS THE BALL AT TONY) WILLY: Goal! Hey, touch me and it's child abuse. (PARENTS GATHER ON THE SIDELINE) WILLY: sht it! sht it! GREG: It's just plain stupid. DAVID: Okay, here we go. GRETA: He's getting better. GREG: It doesn't matter how good he is if he can't reach the damn ball. Why does Coach keep playing him? SHIELDS: Because he's the coaches kid. I agree with you. We need a new keeper. DAVID: Honey, they're kids, okay? You know, it's supposed to be fun. SHIELDS: Winning is fun, honey. Trust me. GRETA: Well, it isn't everything, Micki. GREG: Well, it should be. DAVID: Come on, Greta. Let's go set up the snack while our spouses pretend they're watching the Olympics. TONY: I want double overtime for this, boss. That kid's a nightmare. GIBBS: He reminds me of you. (WILLY KICKS THE BALL) TONY: Oh! No goal! No goal! Sorry about that! (bat) Sorry. Sorry. (TO GIBBS) What's up? GIBBS: I don't know. Something doesn't feel right. CUT TO: INT. DEN - NIGHT (SFX: VIDEO GAME B.G.) (SFX: VIDEO gn) WILLY: He's good. TONY: I told you I knew someone who could bat you. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (V.O.) I'm not sure about this, DiNozzo. (SCENE CUT) TONY: Keep the faith, McGee, you're winning. (SCENE CUT) MCGEE: Playing "Unreal Tournament" in the Multiple thrat Assessment Center is not what they had in mind when... (SCENE CUT) TONY: Focus, Probie! Oh! (SFX: VIDEO gn) (SCENE CUT) MCGEE: If Gibbs sees me playing this... GIBBS: Hey, McGee! MCGEE: Yeah, boss? GIBBS: Status report. (SCENE CUT) WILLY: (SHOUTS) Yes! (LAUGHS) Whoo! TONY: McGee!(END TELEPHONE INTERCUTS) CUT TO: INT. MTAC ROOM - NIGHT MCGEE: Girl is in her room. The parents are in the kitchen with Kate. And um... I guess you know where the boy is. GIBBS: Yeah. MCGEE: It won't happen again. GIBBS: I know. (DOOR CLOSES) CUT TO: INT. DEN - NIGHT KATE: Twenty two. Twenty two, fourteen, twenty two! TONY: Women, Willy. Can't live with them... can't think of a reason why you'd want to. CUT TO: INT. NCIS LAB - NIGHT GIBBS: What have you got for me, Abs? ABBY: You've got mail from the FBI! I think that agent has the hots for you. Okay, you're right. She's really not your type. She sent me highly encrypted "J-Pegs." Public key's got sixty four numbers. It took me longer to input the password than it took the program to decrypt the cipher text. Um... machine making pretty pictures now. (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Yeah. Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) REYES: (INTO PHONE) You got the stills? GIBBS: (V.O./FILTERED) Yeah. REYES: (INTO PHONE) We took them off the ice cream man's computer, Fernando Petroya. (SCENE CUT) REYES: (V.O./FILTERED) We extracted his hard drive, cloned it and returned it. (INTO PHONE) And he doesn't even know. (SCENE CUT) GIBBS: (INTO PHONE) He had Commander Shields under surveillance. REYES: (V.O./FILTERED) Yeah. GIBBS: (INTO PHONE) I want him brought in. (SCENE CUT) REYES: (INTO PHONE) Look, I told you I can't. Not yet. We need his whole cell. (SCENE CUT) GIBBS: (INTO PHONE) We are running out of time here, Agent Reyes. REYES: (V.O./FILTERED) Look, you got-- (SCENE CUT) REYES: (INTO PHONE) ...Your people on the family. They'll be fine. (SCENE CUT) GIBBS: (INTO PHONE) For a few more days. REYES: (V.O./FILTERED) Don't worry. (SCENE CUT) REYES: (INTO PHONE) After that the FBI will pick up protection. (SCENE CUT) GIBBS: (INTO PHONE) Yeah, that's what I'm afraid of. MCGEE: (V.O./FILTERED) Boss, I need you up here.(END TELEPHONE INTERCUTS) CUT TO: INT. MTAC - DAY MCGEE: Someone in the backyard. Kate and Tony are intercepting. Come on. CUT TO: EXT. HOUSE - NIGHT (MUSIC OVER ACTION/TONY AND KATE MOVE TOWARD THE HOUSE) (SFX: THUMP NOISE) (FADE OUT) MUSIC IN: INT. HOUSE - NIGHT (MUSIC OVER ACTION/ TONY AND KATE MOVE QUICKLY UPSTAIRS) CUT TO: INT. UPSTAIRS HALLWAY - NIGHT (MUSIC OVER ACTION) (DOOR OPENS) (SFX: JEN SCREAMS) JEN: No! No, wait! It's...! TONY: Freeze! (DOOR OPENS) JEN: Don't sht him! KATE: Jen, get out! Get out! JEN: Don't! KATE: Jen, go now! LYLE: I'm sorry! Please don't kll me! KATE: Stand down, Tony. It's her boyfriend. TONY: You're not real bright, kid. You're lucky you don't have two holes in that face of yours. SHIELDS: Boyfriend?! CUT TO: INT. MTAC - DAY KATE: (ON MONITOR) Gibbs, Kate. False alarm. GIBBS: (INTO PHONE) One of the kids? KATE: (ON MONITOR) Daughter's boyfriend. Probably not the first time he snuck in, but I guarantee it's the last. Mom packs a Glock. GIBBS: (INTO PHONE) Where is Romeo now? CUT TO: INT. CORRIDOR - DAY KATE: (INTO PHONE) On his way home to change his pants. CUT TO: INT. MTAC - DAY KATE: (ON MONITOR) And Juliet is getting her butt reamed by the Capulets. GIBBS: (INTO PHONE) Roger that. Standing down. Keep us informed. KATE: (ON MONITOR) You got it.(END TELEPHONE INTERCUTS) CUT TO: INT. CORRIDOR - NIGHT KATE: What are you doing? TONY: Listening. KATE: That is just wrong. TONY: Sneaking her horny boyfriend into a house filled with armed federal agents who are on the look-out for Al Qaeda assassins. That's wrong, Kate. Me, I'm just trying to gather some valuable intel so I can do my job better. (SHIELDS LECTURES JEN B.G.) CUT TO: INT. BEDROOM - DAY SHIELDS: I mean, Jen, what the hell were you thinking? JEN: We weren't going to have sex, if that's what you're worried about. SHIELDS: That's not the point! That boy could have been klled! JEN: You don't even know his name! DAVID: We ought to just calm down... JEN: We've been dating for six months, Mom. His name is Lyle. Lyle Chambers. SHIELDS: Let's stay on target, young lady. This is not about names. JEN: On target? Do you think I'm one of your sailors? DAVID: That's enough, Jennifer. JEN: She doesn't know anything about my life, Dad. And why do you think that is, Commander? DAVID: I'm warning you. Do not speak to your mom like that. JEN: Oh, all of a sudden you're concerned with Mom's feelings. CUT TO: INT. HALLWAY - NIGHT DAVID: (V.O.) What is that supposed to mean? CUT TO: INT. BEDROOM - DAY JEN: What a joke. SHIELDS: Is there something I should know here? JEN: Forget it. Just forget it. Can I go to bed now? CUT TO: INT. NCIS LAB - NIGHT ABBY: We've got a face, I think. GIBBS: I've seen better pictures of Sasquatch. ABBY: Well, the fact that it's a reflection limits the details. GIBBS: Well, yeah. I can see that, Abby. ABBY: And the face... if it is a face, it looks like it's turned away. GIBBS: Okay, so let's focus on something smaller. ABBY: Like what? GIBBS: Like a hand. If you were placing a bmb underneath a car... your other hand would be on the side panel. ABBY: Huh. That might actually work. Oh, I can see the paper now. Digital optical enhancement of reflective surfaces with scattered refractive properties. GIBBS: Sounds like a bestseller. I need the answers soon, Abs. CUT TO: INT. LIVING ROOM - DAY SHIELDS: Those were happier times. KATE: Thank you. SHIELDS: I'm sorry about last night. I don't know what that girl was thinking. KATE: It happens. Teenagers, right? SHIELDS: It just feels like yesterday that she was... um.. playing with dolls and following me around the house. But now... KATE: Well, raising a family and having a full time military career.... I don't know how you've managed it. SHIELDS: I didn't. That's why I'm getting out. It had nothing to do with Afghanistan. KATE: But you could retire in five years. Full pension...medical. SHIELDS: My last deployment lasted for over a year. When I came home my babies ... my little boy and girl... Willy wouldn't even speak to me. And Jen was five inches taller and practically a stranger. The constant moving, the uncertainty, the time away. David does a great job, but it's too much for him. For all of us. KATE: Have you thought about what you're going to do when you get out? SHIELDS: Learn how to be a mother. I certainly can't do any worse. KATE: You're being too hard on yourself, Commander. From where I stand you're a role model. SHIELDS: You know...what was my biggest fear in the Navy? This feeling that everything I was fighting for, everything that I wanted to protect... wouldn't be here when I got back. And now I've brought the wr home with me. CUT TO: INT. NCIS LAB - DAY ABBY: Check this out, Gibbs. We got a hand. GIBBS: That's a hand? ABBY: That's the best I could do. Maybe not good enough. GIBBS: How so? ABBY: Well, for some reason there's one area that none of the enhancement programs will work on. GIBBS: Can you tell if he's Middle Eastern? ABBY: Either that or African American. GIBBS: He's only got three fingers. ABBY: I know. I think the program screwed up. Sorry, Gibbs. GIBBS: He didn't. ABBY: He didn't what? GIBBS: Have fingers there. ABBY: So it worked? GIBBS: Uh-huh. ABBY: Cool. So what is he? Some sort of kller shop teacher? GIBBS: kller squid. Thanks, Abs. ABBY: Yep. CUT TO: INT. LIVING ROOM - DAY DAVID: This is insane, Micki. SHIELDS: When you're stressed, you eat. I run. DAVID: Look, why don't you just use the treadmill? SHIELDS: It's not the same. DAVID: Okay, you know what? Why don't you do whatever you want, okay? You always do anyway. SHIELDS: Agents DiNozzo and Todd are going to be with me. It's a run. What's the worse that can happen? DAVID: Uh... you could get sht by a snper! SHIELDS: That would solve a lot of problems, wouldn't it? DAVID: I can't even believe that you said that. What is wrong with you? SHIELDS: I can't believe a lot of things lately, David. CUT TO: INT. BEDROOM - DAY KATE: Running out in the open... this is not a good idea. TONY: Well, she's stubborn, won't listen to reason, and is definitely used to getting her own way. Kind of reminds me of someone. KATE: Yeah, like a female Gibbs. TONY: See, I was thinking you. (SFX: DOOR BELL) (DOOR OPENS) TONY: Nice you could make it, Probie. MCGEE: Traffic was a nightmare. I'm sorry. (DOOR CLOSES) TONY: In the real world of real agents, we account for things like traffic, McGee. We'll be back in about an hour. The monster's up in his room. Listen, don't take it personally if he completely ignores you which he will. MCGEE: Right. WILLY: McGee! MCGEE: Hey. WILLY: Come on! MCGEE: Yeah. CUT TO: INT. REYES' OFFICE - DAY REYES: Reflected image? So our bmb is Roland Allen Moore. GIBBS: You don't sound surprised, Agent Reyes. REYES: Well, he was a suspect. (SFX: FILING CABINET DRAWER OPENS) GIBBS: That's true. That's a nice office.(SFX: DRAWER SLIDES CLOSED) REYES: Thanks. GIBBS: Is that a surveillance request form? REYES: I am pretty busy here, Gibbs. So if you've got something to say, say it. GIBBS: That's direct. I like that. Where is he? REYES: Who? GIBBS: My former Petty Officer Roland Allan Moore. REYES: How would I know? GIBBS: You're lying. Know how I can tell? Your pupils just contracted, and your heart rate's increasing. REYES: Maybe I'm just attracted to you. GIBBS: You're hoping Moore will try it again. You want to roll up his entire network. REYES: So what if I am? GIBBS: My people are protecting that family. If they have to, they will die doing it. If that happens... ask Fornell what I'd do. CUT TO: EXT. STREET - DAY SHIELDS: I run this route everyday. It's exactly six miles. You up for an eight minute pace? KATE: I am. Let me check with my partner. (TO TONY) You up for an eight minute pace? TONY: Behind us. White panel van, been with us the last two turns. KATE: All right, let's drop back. If he makes this turn we abort. TONY: (INTO RADIO) McGee, we might have a situation here. KATE: Twelve o'clock... the intersection. TONY: I see him. KATE: Ambush? (SHOUTS) Take cover! TONY: Break left! Break left! (SFX: CAR TIRES SCREECH) (SFX: explsin) (FADE OUT) FADE IN: EXT. STREET - DAY (PHOTO FLASHES) GIBBS: How's the Commander? KATE: She's fine except for a few bruises she got when she ht the deck. Tony has her and the entire clan locked down at the house. GIBBS: No more runs, Kate. KATE: You don't have to tell me twice, Gibbs. We got lucky today. The blast was mostly contained inside the vehicle. Of course there's also the matter of the five FBI agents that Tony and I almost sht. REYES: They were there for your protection. KATE: In unmarked vans without our knowledge? REYES: Our operations need to know, Agent Todd. You didn't. KATE: I've run Presidential protection details, Reyes. You don't assign two undercover units without coordination. GIBBS: She's not interested in protection, Kate. KATE: You wanted them to try again. GIBBS: The FBI thinks that the assassination team after the Commander is part of a much larger operation. KATE: And we're the bait to draw them out. REYES: Our intel indicates that they're planning something catastrophic. We were hoping by observing this team, that they would lead us to the rest of the network. KATE: And if the Commander and her family just happened to die in the process? (bat) Wow. And I thought Fornell was a bastard. GIBBS: It was your people that were lucky today, Agent Reyes. REYES: Oh yeah? How do you figure that? (SFX: REYES WALKS O.S.) GIBBS: Because my people sht to kll. You stay here. (TO KATE) Make sure you get copies of everything the FBI finds. KATE: I don't trust her. GIBBS: Good. You're learning. GRETA: Excuse me. Hi, my name's Greta Boyen. I'm a friend of the Shields. Is Micki okay? KATE: She's fine. GRETA: Well, because I live just right over there. When I heard the explsin and I saw her carried away and I thought... KATE: She was just a little dazed, that's all. GRETA: Thank God. Listen, do you think it would be all right if we went over and visited? KATE: The best thing you can do for her right now, Mrs. Boyen, is go home. CUT TO: INT. NCIS SQUAD ROOM - DAY GIBBS: I got that coffee for you, Agent Reyes. It's not as strong as mine, but if you don't want it. REYES: You know, I've been waiting twenty minutes, Gibbs. I - I am not used to waiting. I don't like waiting. GIBBS: Oh, yeah. That's why I got you coffee. Are you sure you don't want to try it? REYES: What the hell do you want? GIBBS: Roland Allan Moore. In my chat room. One hour. REYES: It's not going to happen until he leads us to everyone in his cell. GIBBS: I'll get their names. REYES: Oh, how? Are you going to force feed him your coffee? GIBBS: (LAUGHS) You see, DiNozzo was wrong about you. You do have a sense of humor. Don't miss the six o'clock news, Agent Reyes. REYES: What the hell have you done? GIBBS: Nothing yet. But isn't our FBI using an American family as trror1st bait news? REYES: You'll blow our entire operation. GIBBS: Sure. But I'll also get Moore in my chat room. REYES: Look. Even an agent as arrogant as you are has to know that what you're thrat is a career ender. GIBBS: Only if he doesn't talk. If he does, it's a career maker. (INTO PHONE) Suzanne McRoberts, please. Special Agent Gibbs, NCIS. (TO REYES) You've seen Suzanne on TV. She's cute, blonde, does the anchor on the news. That had better mean we have a deal or you're going to lose a finger. REYES: If you don't crack Moore, the appendage that I'll cut off will mean so much more to you than a finger. CUT TO: INT. INTERROGATION ROOM - DAY MCGEE: Oh, wow! You're reading Moonstone! Hey, you know Dorothy Sayers thought that was the best detective storey ever written. And T.S. Eliot... he called Moonstone.... REYES: (OVERLAP) Where the hell is Gibbs? MCGEE: The first true English Detective novel. Uh... Gibbs is prepping Roland Alan Moore for interrogation. REYES: Prepping? You mean like physically abusing him? MCGEE: No, no, no, no. Gibbs never lays a finger on a suspect... at least not after we have them in custody. REYES: So what the hell is it exactly that he does to... prep them? MCGEE: Well, it varies from suspect to suspect. And I really can't say what he does. REYES: Because it's illegal. MCGEE: No. No, I don't think so. Uh, no it's usually just quiet conversation. GIBBS: (V.O.) After you hang yourself... CUT TO: INT. AUTOPSY ROOM - DAY GIBBS: By the way do you prefer Roland or Mohammed? MORRIS: I'm not going to hang myself. GIBBS: Oh, I know. That's just what my reports going to say. Anyway. After you hang yourself your body will be autopsied here by Doctor Mallard. Hey Duck, where are you going to start to cut on Roland? DUCKY: Is he going to hang himself? GIBBS: Uh-huh. DUCKY: Oh. MORRIS: You're not going to do this. GIBBS: He doesn't know me very well, does he? DUCKY: Obviously not. I remember one trror1st we had... GIBBS: All right, Ducky. No wr stories. DUCKY: Oh right. I might start with his head, Jethro. I can make a cut here behind the ear, around the back to the other one. Then I'd pull the skin down over your face so I can take the Striker saw to take the top of your skull off. MORRIS: Get away from me. GIBBS: I don't think he wants you to start there, Duck. DUCKY: Oh no matter. I can always use a "Y" cut to begin with. Let me show you. It's quite simple, really. We take the skull then we cut here and here. Here we go. And then we make a cut all the way down to just above the pubic bone. Now we separate the skin from the muscle and the tissue. And then we take these and we cut them ... (SFX: DUCKY CUTS THE RIB BONES) DUCKY: Once I've opened you up... then we take this and we put it down here. And then I can take out your heart... What do you know? And then we go up to the trachea and pull it out... along with your tongue. (DUCKY REMOVES THE BODY PARTS) (DUCKY STRUGGLES TO REMOVE THE BODY PARTS) SUZANNE: (V.O.) The FBI announced the arrest of four alleged trrorists today. CUT TO: INT. SHIELD'S DEN - DAY SUZANNE: (ON TV) They are believed to be an Al Qaeda cell responsible for the bmb of Navy Lieutenant Commander Micki Shield's car at a Tacoma Park supermarket on Wednesday, and a (V.O.) second car bmb yesterday on a street where she was jogging. An FBI spokesperson said a suspect they had under surveillance led them to a Silver Springs apartment where they captured the entire cell without fring a sht. (ON TV) Lieutenant Commander Shields was the Naval aviator... SHIELDS: The news is really depressing these days. TONY: You have no idea, Commander Shields. SHIELDS: Actually not Commander anymore. Terminal leave is up. I am just Mrs. Micki Shields now. I kind of like the sound of that. DAVID: That's good. GIBBS: Are we going to let these people get on with their lives, or are we going to stand here and stare them to death. MCGEE: The equipment is loaded and stored. Ready to move, Boss. GIBBS: Well, then move, McGee. KATE: If you tell anyone where you got it, I will deny it under oath. JEN: A blank hall pass. KATE: Signed by the principal. JEN: Undated. KATE: Erasable ink is the key. It's always worked for me. TONY: Hey! Well, here you go. WILLY: Thanks. TONY: Yeah, I wouldn't wear it unless I had to. Cool. If there's anything you can think of. WILLY: Shades. TONY: What? WILLY: I like your sunglasses. TONY: Yeah, but that's not surprising because they're super cool, Willy. But you see, the thing about these is are...these are really grown up shades. GIBBS: We're out of here. WILLY: Thanks! Sweet! (TONY HIGH FIVES WILLY) WILLY: Ooh! CUT TO: EXT. CAR - MOVING TONY: (V.O.) Polarized lenses. CUT TO: INT. CAR - MOVING TONY: Impact protected. Raked-back curvature. They were special order, Boss. GIBBS: I never special order. MCGEE: Isn't that funny. Neither do I. TONY: There's nothing funny about this, McGee. And what part of this conversation is about you anyway? MCGEE: Only the part about special ordering. KATE: I always special order. It's a bright day out today. (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Abs.(BEGIN TELEPHONE INTERCUTS: ABBY: (V.O./FILTERED) So the FBI... (SCENE CUT) ABBY: (INTO PHONE) Finally sent copies of the evidence from the second bmb. The patterns don't match the first. The second's more "boom"... (SCENE CUT) ABBY: (V.O./FILTERED)....Than bmb. There was no shrapnel. (SCENE CUT) ABBY: (INTO PHONE) Fertilizer and oil instead of C-four. (SCENE CUT) ABBY: (V.O./FILTERED) And placement inside the car limited the spread. GIBBS: (INTO PHONE) Amateur night. (SCENE CUT) ABBY: (INTO PHONE) Sounds like. Oh, something else, my hero. (SCENE CUT) ABBY: (V.O./FILTERED) It was triggered by some sort of crude remote control. Like... (SCENE CUT) ABBY: (INTO PHONE) ...a garage door opener. Couldn't have had a range of more than a hundred feet. (END TELEPHONE INTERCUTS) CUT TO: INT. CAR - MOVING (MUSIC OVER ACTION/CAR CHANGES DIRECTIONS) (SFX: CAR TIRES SCREECH) TONY: Anything we should know, Boss? GIBBS: The second bmb wasn't Al Qaeda. Somebody else wants the Commander dad. CUT TO: INT. SHIELDS' DEN - DAY DAVID: We're finished. It's over. GRETA: No, you're just confused, David, and that's understandable. I would be too if Al Qaeda were targeting my family. DAVID: Greta, what we did was a big mistake. GRETA: No, what we did was right. She's brought all this on herself. She's put your family in harm's way. David, everything is going to be better when she's gone. DAVID: Do you hear what you're saying? GRETA: Why, you'll see! You'll see. We can go back to how we were before she came home. SHIELDS: No no no. Greta, it's not going to happen, okay? We were lonely. That's all it was. I love my wife. GRETA: (SHOUTS) No! Don't say that, okay? That's not true. DAVID: Yes, it is. GRETA: (bat) Well, then I'm going to tell her, David. If you won't... I will. SHIELDS: You just did, Greta. Now get out of our life. (GRETA PULLS OUT A gn) DAVID: Whoa! Whoa! Greta! Greta! Put it away. GRETA: He made love to me, Micki. He made love to me like he's never made love to you. He told me that. DAVID: Greta, look. Just... give me the gn. GRETA: (SHOUTS) No! Everything's going to be fine once she's gone! You'll see. SHIELDS: Drop your wapon, Greta. (SFX: DOORBELL RINGS) SHIELDS: Leave and I'll forget all about this. GRETA: I won't. DAVID: Please. (SFX: DOOR BELL RINGS) (SFX: gn) DAVID: It was self defense. She was just trying to protect herself. SHIELDS: At least this time it wasn't an innocent civilian. CUT TO: INT. CAR - DRIVING MCGEE: Actually, I did special order once. (SFX: CHUCKLING B.G.) (ENDING CREDITS UP) (FADE OUT) (ENDING TITLE/ CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x06 - Terminal Leave"}	foreverdreaming
FADE IN: INT. NCIS MAIN ENTRANCE - DAY HENRY: Gibbs. GIBBS: Hey morning, Henry. HENRY: That sushi place you sent me to? GIBBS: What, you didn't like it? HENRY: I liked it fine. Only you didn't tell me I had to speak Japanese to order. GIBBS: You don't order. You eat what you're served with a smile. Just like being married. (SFX: METAL DETECTOR ALARM) YOST: I hope this doesn't mean I can't come in. Now just hold your horses. I wasn't going to hurt anybody with it. It's evidence. GIBBS: Yeah, it's okay. HENRY: Come on in. (SFX: BEEP TONES) HENRY: You wearing jewelry? YOST: Oh, I forgot. A senior moment. GIBBS: Henry, we're in the presence of a Medal of Honor recipient. Special Agent Jethro Gibbs, NCIS. Mister.... YOST: Yost. Corporal Ernie Yost. Special Agent, huh? Just the man I'm looking for. GIBBS: It would be an honor to help you, Sir. YOST: Say that after you know why I'm here. GIBBS: That have something to do with the evidence you're delivering? YOST: I mrder a Marine with that forty-five. (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES / CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "CALL OF SILENCE" MCGEE: The Washington Ballet is totally sold out. TONY: You're kidding! MCGEE: People were backed up trying to hack into the box office. TONY: Ah, I can't believe that! KATE: Since when are you interested in a ballet? TONY: Oh, uh... since about an hour ago. KATE: Let me guess. The cashier at the bakery was wearing leg warmers. TONY: How do you know that? KATE: Must be the profiler in me. MCGEE: Oh hey, there's another ballet in town, DiNozzo. I can get you two front row easy. TONY: Really? What ballet? MCGEE: The National. TONY: The National Ballet? Bravo, McGee. MCGEE: Oh. Only... TONY: Only what? MCGEE: The nation... KATE: Is not ours. MCGEE: Surinam. TONY: Surinam? The National Ballet of Surinam... how good can that be? KATE: Depends how much you like her buns, Tony. GIBBS: DiNozzo, make Mister Yost here comfortable. YOST: You want to make me comfortable? TONY: Mm-hmm. YOST: Slap a pair of handcuffs on me. TONY: How about something else? YOST: Any good at foot massages? GIBBS: Kate. McGee. TONY: Here, let me get that for you. GIBBS: I found him downstairs. He claims to have mrder a Marine with this forty-five. KATE: Do you believe him? GIBBS: He's a little foggy on the where and when, but he's pretty adamant he did it. KATE: Gibbs... we're not going to investigate this? GIBBS: Nah... KATE: Good. GIBBS: We're just going to humor him. McGee, says he's been reporting this to nine-one one, can't get anybody to believe him. MCGEE: Gee. What a surprise. GIBBS: Trace the call. I want to hear one of them. MCGEE: On it. GIBBS: Kate, he's a former Marine. Probably W-W-Two. Corporal Ernest Yost. Dig up his S.R.B. KATE: You got a Social Security number? GIBBS: They didn't use them for serial numbers when he served. KATE: So how am I supposed to get his S-R-B without a serial number? GIBBS: Well Kate, you can ask him. KATE: Gibbs, I doubt that he could remember his shoe size. GIBBS: (SHOUTS) Corporal Yost! YOST: (SHOUTS) Yo! GIBBS: (SHOUTS) Serial number! YOST: (SHOUTS) Three three zero zero nine zero, Sir! GIBBS: Or you could just look him up under Medal of Honor recipients. KATE: He won the Medal of Honor? GIBBS: You don't win the Medal of Honor, Kate. You're awarded it for conspicuous gallantry above and beyond the call of duty. YOST: (TO TONY) You got any use for a Metro ticket? It's got ten rides left. Don't want to waste it. TONY: Ah, no thanks. YOST: Ah come on. Too much waste in this world. Everything is disposable now. Disposable camera. Disposable razors. I won't be needing them. TONY: I drive. YOST: Oh. They took my license away. TONY: How come? YOST: Got old. It's a fatal mistake. But I can fly anywhere. For free. I uh... I don't have anybody to visit anymore. TONY: I'm sorry. What a waste. How'd you score a sweet deal like that? (YOST HANDS THE MEDAL TO TONY) CUT TO: INT. NCIS LAB - DAY ABBY: What do we have here, Gibbs? GIBBS: mrder wapon. ABBY: Cold case? GIBBS: Icicles. ABBY: Hmm. It's rust from potassium chlorate in the powder mix. GIBBS: Hasn't been fired recently. ABBY: They didn't even use this kind of amo when you were in the Marines, Gibbs. Check out the muzzle end of the slide. See that coloring mismatch? That's from hardening after the finish was applied. This wapon is circa early nineteen forties. GIBBS: A year or two before I joined the Corps. (SFX: METAL SCRAPING) GIBBS: Dirt? ABBY: Looks like black sand. GIBBS: Trace its origin. ABBY: Don't I always? Hey Gibbs, are you going to tell me what this is about? GIBBS: A Marine who doesn't clean his wapon after fring it. ABBY: Wow. Things must be really slow upstairs. YOST: (V.O.) I never said I sht him. CUT TO: INT. NCIS SQUAD ROOM - DAY YOST: I bat him to death with it. Over the head. GIBBS: Who? YOST: My buddy. Corporal Wade Kean. GIBBS: Why? YOST: Why? GIBBS: Why would you kll your buddy? YOST: I don't think he believes me, kid. TONY: Me either. YOST: Well, what do you know. You weren't even a gleam in your old man's eye. GIBBS: Mister Yost... YOST: Yeah, yeah, yeah. I know, I know. Why? Is that all he's gonna ask me? TONY: Pretty much 'till he gets an answer. YOST: All right. You want an answer? I'll give you an answer. (LONG bat) I don't know why. GIBBS: You don't know why? YOST: No. GIBBS: Okay, then I don't believe you klled him, Mister Yost. YOST: Why won't anybody believe me? I klled him! I smashed him over the head. I... bat his brains in! Blood was coming out of his brain! GIBBS: Calm down, Mister Yost. Relax. Relax. YOST: Where's my forty five!? (LOUDER) Where's my forty five!? I had it when I came in here. GIBBS: (OVERLAP) I have your forty five. I have your forty five... You gave it to me. YOST: Good. You see, that's evidence. That'll prove that I... that I... GIBBS: Tony, get him a drink of water. TONY: All right. Come with me, Mister Yost. The water cooler's right over here. YOST: It's not a water cooler. It's called a scuttle butt. How long have you been in the Corps, kid? TONY: Since I met Gibbs. This way. (TONY AND YOST WALK O.S.) MCGEE: Boss, Winchester, Virginia, P.D. got seven nine-one-one calls from Yost during the past eleven days. GIBBS: Let me hear the last one. 911 OPERATOR: (ON TAPE) Nine one one. YOST: (ON TAPE) Hi, got a pencil and paper ready? 911 OPERATOR: (ON TAPE) Sir, I have a computer. What is the emergency you wish to report? YOST: (ON TAPE) Well there's a dad man. Well, actually it's not an emergency to him anymore. He's dad. The emergency is for me. See, it's getting late in the day, very late. 911 OPERATOR: (ON TAPE) Mister Yost, is this you again...? GIBBS: I heard enough. MCGEE: The police investigated a couple times, found him to be inebriated and that he started making the calls when his wife passed away. GIBBS: Yeah. KATE: His citation of conspicuous gallantry above and beyond the call of duty. GIBBS: GIBBS: Corporal Ernest Yost, U.S. Marine Corps, First Battalion, Twenty Eighth Marine, Fifth Marine Division at Iwo Jima, Volcano Island, Four March, Nineteen Forty-five. In terrain studded with caves and ravines, Corporal Yost was standing point forward of our lines when he spotted Japanese troops attempting to infiltrate under the cover of darkness. He immediately waged (V.O.) a fierce battle during which a grenade gravely wounded his right hand and fractured his thigh. Near exhaustion from profuse bleeding, he continued to defend his forward position, engaging in hand-to-hand combat when he was out of ammniton. (CONT.) At dawn, Corporal Yost was found amid the bodies of twenty six Japanese soldiers he had klled in his self-sacrificing (ON CAMERA) defense of his forward position. YOST: What? GIBBS: We just heard about your wife, Mister Yost. You have my sympathies, Sir. YOST: Thank you. Buried her two weeks ago. Ball's Bluff National Cemetery. We were married fifty eight years. Dorothy...she was a peach. (CRIES) She was... a peach. Now can we get on with this!? GIBBS: You're not in custody, Mister Yost. YOST: Now don't say that, Agent Gibbs. I didn't get anything for dinner tonight. GIBBS: (INTO PHONE) Gibbs. KATE: I'd love to buy you dinner, Mister Yost. YOST: You would? MCGEE: Me, too. YOST: She asked first. GIBBS: (INTO PHONE) We don't know yet! Videoconference. Five minutes. (TO DINOZZO) DiNozzo, entertain Mister Yost a little while longer. YOST: Does that mean you're going to hold me? GIBBS: No! FAITH: (V.O.) Oh yes you will! CUT TO: INT. MTAC ROOM - DAY FAITH: (ON MONITOR) You see this seal, Special Agent Gibbs? Do you recognize the signature? GIBBS: Yeah. FAITH: (ON MONITOR) Your eyesight isn't as bad as they say. GIBBS: How did SECNAV get involved in this? FAITH: (ON MONITOR) Apparently letters from Medal of Honor recipients get read. GIBBS: Yost wrote him? FAITH: (ON MONITOR) More than wrote. He confessed to mrder a Corporal Wade Kean, U.S.M.C. GIBBS: Did he say where? FAITH: (V.O.) No. GIBBS: When? FAITH: (V.O.) No. GIBBS: Why? FAITH: (ON MONITOR) No. And that's why you're going to open up a case to get those answers. GIBBS: Commander, this man stood tall in hell. His wife just died. He does get loaded sometimes. Even when he's not loaded, he's loaded. FAITH: (ON MONITOR) Decisions over competency to stand trial are not yours to make. They're for experts in neuropsychiatry and a court. Now let me ask you one question, Special Agent Gibbs. GIBBS: Just one? FAITH: (ON MONITOR) What's the statute of limitations on mrder? (MUSIC OUT) FADE IN: INT. INTERROGATION ROOM - DAY GIBBS: Statement of Mister Ernie Yost, Medal of Honor recipient, NCIS Special Agent L. Jethro Gibbs. YOST: Jethro. I used to know a ballplayer named Jethro. ngro League. GIBBS: Do you understand your rights? YOST: Oh, sure. Sure, yeah. That Italian kid read them to me. De... Di... GIBBS: DiNozzo. CUT TO: INT. OBSERVATION ROOM - DAY YOST: (V.O./FILTERED) Tony. He'd make a heck of a ballplayer. TONY: Promised me a tryout. Said he used to be a scout for the Senators. DUCKY: How sad. You're obviously too old to be a professional ballplayer. YOST: Now like I told you... CUT TO: INT. INTERROGATION ROOM YOST: I klled my best friend... Wade. GIBBS: Why? YOST: Now that again? GIBBS: If you want me to charge you. YOST: You know, Wade could do a kip. A kip up. He'd lay flat on his back on the barracks deck. And in one move, he'd jerk his body and land on his feet. Have you ever seen anybody do anything like that, huh? Well, you wouldn't forget. I got this Metro card here. It's got ten rides left. Do you want it? GIBBS: No, thanks. YOST: Yeah, it seems silly. Wade. You know, all I remember is klling him. CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: All right, Mister Yost. Tony can give you a ride home. YOST: Wait a minute. Wait a minute. I'm trying to remember. You know, I know you need to know why. GIBBS: That would be nice. CUT TO: INT. INTERROGATION ROOM: YOST: You know I... you know I think... I think... it was him or me. Yeah. Yeah, that's it. Him or me. I took this pstol... CUT TO: INT. TRENCH - FLASHBACK YOST: (V.O.) And I smashed his brains in. Wade... CUT TO: INT. INTERROGATION ROOM: YOST: I smashed... I smashed his brains in! We're all covered with blood! GIBBS: You don't have to remember any more, Mister Yost. Take a deep breath. Breathe. Breathe. Breathe. (YOST GASPS B.G.) YOST: Phew. It smells like rotten eggs in here. GIBBS: Tony, let's get Mister Yost some air. CUT TO: INT. CORRIDOR - DAY GIBBS: Well? DUCKY: I'm a medical examiner, not a psychiatrist. GIBBS: I won't sue you, Duck. DUCKY: Well, he reminds me of my great uncle William in Bristol. We'd visit every Christmas. He was always apologizing for sitting naked at the dinner table. GIBBS: He wasn't naked, was he? DUCKY: No. Aunt Gertrude was. I'm sorry, Gibbs. My point is my uncle was a little dotty as is your Mister Yost. GIBBS: Ducky, what do you think he smelled in there? DUCKY: I hesitate to ask. GIBBS: Nothing. It was in his mind. He was back on Iwo. The sulfur island. DUCKY: Sulfur smells like rotten eggs. KATE: Good news, I think. DUCKY: It's not good if you have to think about it. KATE: Corporal Wade Kean was klled in action on Iwo Jima on March third, nineteen forty five according to the Marine Corps casualty list. DUCKY: That's the day before Yost was cited for gallantry. KATE: That means he didn't kll him, right? DUCKY: If no one witnessed the mrder Yost alleges committing, they'd assumed that Corporal Kean was klled by the Japanese. I'm sorry, Kate. It doesn't really prove anything except a brave Marine died. GIBBS: Ducky, say Yost's best friend was klled in action. What's he feel? DUCKY: Pain. Anger. Relief. GIBBS: Survivor's guilt. He's glad it's not him. He hates himself for that feeling. DUCKY: Exactly. GIBBS: The next night Yost is in hand-to-hand combat. KATE: So he confused klling a Japanese soldier with klling his friend. GIBBS: This all started when his wife died. Survivor's guilt again, Duck? DUCKY: No wait, wait, wait. You're on to something there. But how do you prove it to him? GIBBS: Kate, prepare an affidavit to exhume the body of Marine Corporal Wade Kean. KATE: At Iwo Jima? GIBBS: He's not in Iwo Jima. We gave the island back to Japan in sixty eight. Every Marine buried there was brought home. You find him. Dig him up. (DOOR OPENS/ CLOSES) CUT TO: INT. SQUAD ROOM - DAY TONY: Oh, "The Sands of Iwo Jima!" (AS JOHN WAYNE) "Guys make mistakes, I guess. But every one we make, the whole stack of chips goes with it." MCGEE: Who said that? TONY: That's John Wayne. Sergeant Striker. Come on. It's in the flick you're downloading. MCGEE: John Wayne is in "To The Shores of Iwo Jima?" TONY: It's sand, McGee. Not shores. MCGEE: No, it's shores. TONY: You're going to challenge me on the name of one of the Duke's finest films? MCGEE: Tony, this isn't a Hollywood film. It's a Marine documentary. "To the Shores of Iwo Jima." TONY: Wow, it's the same footage. MCGEE: The Corps probably let them use it. GIBBS: How's he doing? TONY: Listen to him. GIBBS: That "To the Shores of Iwo Jima?" MCGEE: Yeah, I thought it might help. GIBBS: Good thought. When he wakes up, take him home. TONY: Will do. GIBBS: Stay with him. I don't want him to be alone. TONY: Oh, boss! I've got tickets to the National Ballet tonight. GIBBS: The National Ballet? TONY: Yeah, and the tickets are really hard to get. Tell him, McGee. MCGEE: Um... well... GIBBS: What nation? TONY: It starts with an "S." GIBBS: Bed him down, DiNozzo, and stay with him. CUT TO: EXT. NATIONAL CEMETERY - DAY GIBBS: (V.O.) It can't be a coincidence. (ON CAMERA) Yost's wife buried in the same cemetery as Corporal Kean. SUPERINTENDENT: Well, Mister Yost must have requested the plot for he and his wife decades ago to be buried there. I mean this section of the cemetery has been filled since the seventies. GRIFFITH: Left, right, left! Left right, left! Left, right, left...(MARINE CORPS COLORS MARCH TO THE GRAVE SITE: GRIFFITH: Detail halt! Left face! (TO GIBBS) Marine burial detail present as requested, Special Agent Gibbs. GIBBS: Thank you, Colonel. Now we're ready. (SFX: TRACTOR BEGINS DIGGING DIRT) CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Skeletal remains as expected. They were buried only in a canvas bag or poncho. Twenty years in sulfuric soil takes its toll. KATE: What's that in his teeth? GIBBS: Dog tag. When you were klled in action, one of your dog tags was inserted between your teeth and your lower jaw was slammed shut locking it in place so the body could always be identified. KATE: Oh, god! DUCKY: Traumatized bilateral amputation of the legs. KATE: atillery shell? GIBBS: Land mine. Check the top of the skull, Ducky. Here. (bat) Don't tell me. DUCKY: I'm afraid there is a blunt force fracture. GIBBS: You've got to do it. DUCKY: The pattern mark's a rough fit. GIBBS: He said he was bringing us evidence. (CUT TO BLACK) FADE IN: EXT. NCIS BUILDING - DAY FAITH: Yost confessed in a letter to SECNAV. He surrendered the mrder wapon. Your own medical examiner matched it to the tool mark on the victim's skull fracture. CUT TO: INT. SQUAD ROOM - DAY FAITH: What more do you want? GIBBS: Motive. FAITH: I don't need a motive to prosecute. GIBBS: I do. McGee.(SFX: VIDEO PLAYS) YOST: (MUFFLED ON MONITOR) I picked up this pstol and I ht him with it. I smashed his brains in! Wade. I smashed his brains in.... I smashed his brains in! We were all covered with blood! DOCTOR: Take a deep breath. Breathe. Breathe. Breathe. (SFX: MONITOR CLICKS OFF) GIBBS: Look at him, Commander. He's living in agony over something he didn't do. FAITH: How do you know? GIBBS: Have you ever been in combat? FAITH: No. GIBBS: The only one you depend on is the buddy next to you. He's closer to you than your brother. Why would you smash his head in? FAITH: God only knows. GIBBS: Well then he had better tell me... because I don't understand, and neither does Yost. FAITH: I'm tired of arguing with you, Gibbs. Deliver Yost to the Quantico brig.... GIBBS: I can't do that. FAITH: Damn it, Gibbs. Do you think I want to incarcerate an eighty two year old man? I'm following the SECNAV's direct orders. He said investigate. You did, and found enough evidence to hold him over for a court martial. Now take him into custody. GIBBS: I said can't... not wouldn't. FAITH: Please don't insult me by telling me he escaped. GIBBS: The older they are, the sneakier they are. KATE: Yost complained of a weak bladder. He had to use the restroom every ten minutes. We gave up escorting him and one time he just didn't come back. MCGEE: We found a window open. He must have shimmied down the drain pipe. FAITH: I'd like to have seen that. GIBBS: We think the weak bladder was a trick to get us to let down our guard. KATE: We're sick about it, Commander. FAITH: Yes, I can see that. You all look absolutely devastated. MCGEE: I put out an A-P-B. Airports. Train stations. Taxi cabs. Walker rentals. FAITH: All right, Gibbs. I'll give you twenty-four hours and that's it. I want Yost at the Quantico brig at zero eight hundred tomorrow. GIBBS: We'll be there. FAITH: I don't give a damn if you're there. Just make sure Yost is. (FAITH WALKS O.S.) KATE: Gibbs, maybe she's right. Commander Coleman admits that JAG doesn't want to incarcerate him so what's the worst that can happen? GIBBS: Dishonorable discharge... and a loss of his Medal of Honor. KATE: I hadn't thought of that. GIBBS: Yeah. Neither has Yost. And there's worse. A hero... could go to his grave carrying a guilt he doesn't deserve. I won't let that happen. KATE: So what do we do? GIBBS: Find every living Marine who served with Yost on Iwo Jima. KATE: If there is one. (bat) Right. GIBBS: McGee. MCGEE: Boss. GIBBS: I want you and Abby to reconstruct the battle. That Marine documentary you downloaded is a start. I want to follow Corporals Yost and Kean minute by minute. From D-Day until Kean was klled and Yost was evacuated. MCGEE: You got it, Boss. GIBBS: I want it so real I can smell the sulfur. MCGEE: Yeah. CUT TO: INT. YOST'S LIVING ROOM - DAY (YOST TURNS ON THE RECORD PLAYER) (BAND MUSIC PLAYS LOUDLY) YOST: Hey! That was fun last night. You got some arm on you, kid. TONY: That was luck. YOST: What? TONY: (SHOUTS) I said it-- (TONY CLICKS OFF THE RECORD PLAYER) TONY: I said I was lucky. What's that? YOST: It's Wild Turkey. Milk back. Want one? TONY: Uh, I don't think my stomach can handle it after the chili dogs last night. YOST: I've been drinking one of these every morning for almost fifty years. Semper fi. TONY: You got any coffee? YOST: Percolator in there. Yeah. You know, speaking of luck... let me tell you, we almost didn't get to Iwo. TONY: No. YOST: We were in a forty knot gale. The ship was like a roller coaster. Up one wave. Down the next. And me and Wade are leaning over the railing puking like we had spent the weekend liberty at the slop chute. And guess what happened? TONY: You fell in. YOST: No. A torpedo sh*t out of the water, zips over our heads. That close! Flies right into the sea. Right over the ship! I guess our number wasn't up. TONY: So what's it feel like? YOST: Smooth. TONY: Being a hero. YOST: Oh, I'm no hero. TONY: Medal says you are. YOST: The real heroes never came back. They deserved that, not me. Not me. I was scared to death. I don't even remember doing what they said I did. TONY: You don't remember klling all those Japanese soldiers? YOST: No, it's like someone else did it. Maybe somebody else did. I don't know. TONY: Maybe it was someone else who klled Wade. YOST: You want to look at some pictures? TONY: Sure. YOST: First drawer there. That's it. There. Here you go. Here you go. There's me. There's Ferris Bellows. Chip Stearns. And that's Wade next to me. We took this on the Canal. TONY: Guadalcanal? YOST: Yeah, two days before I got ht in the chest. TONY: You got wounded on Guadalcanal and then they sent you to Iwo? YOST: Just not me. A lot of Marines, you know. Chip got ht on the Canal. Caught one in the butt. (TONY AND YOST LAUGH) YOST: We never let him forget it. Well... Nambu cut him down on Iwo. Here. Here. This is my Dorothy. TONY: Oh, man! She's hot! Sorry, Ernie. YOST: That's okay, kid. She was hot. She was the cutest Navy nurse in Hawaii. TONY: Is that how you two met? YOST: Yep. I don't even remember the hospital ship. But when I finally opened my eyes on Oahu, she was the first thing I saw. Love at first sight. TONY: So you two get married before you shipped out to Iwo Jima? YOST: No, no. We had to wait until after the wr. Her being an officer and me enlisted... I would lay in my rack at night and ache for her. TONY: I'll bet your buddies were jealous. YOST: Who told you that?! TONY: Nobody! She's gorgeous! I'm just saying... who wouldn't be jealous? YOST: I have to take a whiz. ABBY: (V.O.) Iwo Jima, five miles long... MUSICAL BRIDGE TO: INT. NCIS LAB - DAY ABBY: ... half of that in width. Twenty seven thousand Japanese dug in so deep, that ten weeks of bmb couldn't touch them. MCGEE: One out of every three Marines on Iwo Jima was a casualty. ABBY: The Japanese had eight hundred pill boxes and three miles of tunnels on that tiny little island. MCGEE: The Marines hoped to take Mount Suribachi on the first day. ABBY: It took five before the famous flag-raising. And then the battle went on for about a month after that. MCGEE: It was actually the second flag to be raised. The first was too small to be seen by all the Marines. GIBBS: Hey, I am only interested in two Marines, Corporals Yost and Kean. ABBY: Gibbs, we're trying to give you a little background here. GIBBS: I got that, Abby, at Parris Island. ABBY: Okay. D-Day. Zero nine hundred. Blue Beach One. Corporals Yost and Kean land with the Twenty-fifth Regimen of the Fourth Division. (V.O.) They're about to take the airfield with the Third Division, while the Fifth Division takes Suribachi and advances up the west coast. MCGEE: First Airfield falls on D-Day and they sweep up the east shore towards the sulfur quarry and Airfield Two. ABBY: Estimates were five days, ten max. MCGEE: Over two weeks later they are still trying to take that second airfield. ABBY: Corporal Kean's body was found here, Turkey Knob. MCGEE: The next night Yost was cited for the Medal of Honor here about five hundred yards away. GIBBS: What's this here? ABBY: That's the gap between the Fourth and Third Division lines. The night that Corporal Kean died, the Japanese had amassed several hundred troops for a banzai charge. MCGEE: They were getting desperate. See, up until then they'd only fought from inside their bunkers. GIBBS: Kean was klled here below the cave mouth. ABBY: Within spitting distance. GIBBS: He stepped on a landmine. He'd blown off both his legs. He was in severe pain. This ditch runs north where the Japanese were amassing. They had to pass within yards of Kean and Yost. KATE: You think... Yost ht him in the head to keep him quiet? GIBBS: Well, that's got to be it! He had no reason to kll him. He was his buddy! CUT TO: INT. YOST'S LIVING ROOM - DAY TONY: Ernie! YOST: Hold your horses. I'm coming. I'll bet you never had a ham and cheese like this. You see, I mix mayo with mustard... TONY: Is this Wade and Dorothy? It looks like a high school photo. YOST: It was the senior prom. She was queen. He was king. TONY: Wade knew Dorothy before you. Ernie, were they sweethearts? (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - DAY GIBBS: I don't believe it. TONY: It doesn't matter, Boss. He does. KATE: Commander Coleman is going to use this to put Yost away for the rest of his life. TONY: Do we have to tell her? GIBBS: Well, no, Special Agent DiNozzo. Here at NCIS we just report evidence we like. KATE: You know, Gibbs, it doesn't change your theory. Corporal Kean was in pain from his wounds. Yost knocked him out to keep his cries from alerting passing Japanese. So over the years Yost begins questioning himself. Did he have to ht him that hard to silence him? Or did he do it to get the woman that they both loved? MCGEE: Well, I tracked down Private Bellows. He was in Vegas last month playing blackjack. Double downed on two aces, caught two queens. Reached for his chips and dropped dad. Billows' death makes Yost the last surviving Marine from his unit on Iwo. KATE: It's just so hard to believe that there's nobody left on the planet who was there that night. (GIBBS WALKS O.S.) YOST: Do you guys like Benny Goodman? I'm an Artie Shaw man myself. Now don't get me wrong. Benny Goodman was great. But Artie Shaw... when he lifted that clarinet. Boy, did we argue about that! Wade loved Goodman. Me? Artie Shaw any day. Do you dance? KATE: Yes, sure! YOST: (SINGS) When they begin the beguine It brings back the sound of music so tender It brings back a night of tropical splendor It brings back a memory evergreen (HUMS) ....orchestra's playing... (HUMS) (PASSAGE OF TIME) (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) FAITH: Where's Gibbs?! TONY: Good afternoon to you, too, Commander Coleman. FAITH: He was to deliver Corporal Yost to me. YOST: Present and accounted for, Sir! FAITH: ... It's now eight hundred. You're Ernest Yost? YOST: Yes, Ma'am. TONY: This is Lieutenant Commander Coleman, Ernie. JAG Corps. She's here to uh... arrest you. YOST: I can't tell you how much I appreciate this, Commander. TONY: What's with the Olsen twins? FAITH: They're here to escort the accused to Quantico. YOST: Well, it's about time. KATE: We'll deliver him. FAITH: You've had two days to do that. (SFX: MARINES SALUTE YOST) GIBBS: Right on time, Commander. FAITH: I'm on time? You're the one who failed to deliver the accused to me at zero eight hundred. GIBBS: I've got a witness. FAITH: Witness to what? GIBBS: What happened the night Corporal Kean died. MCGEE: You couldn't have! I mean, you could have. Obviously you did. Did I miss someone in his unit? GIBBS: No, all Marines are deceased. YOST: Ernie's alive. FAITH: Gibbs. GIBBS: Commander, there were more than Marines in Iwo Jima. There were more than twenty thousand Japanese. FAITH: They were all klled. GIBBS: Not all. A few were taken prisoner. Some never returned to Japan. FAITH: You found a Japanese soldier who fought on Iwo Jima? GIBBS: A Japanese Lieutenant right here in this District as it so happens. FAITH: As it so happens. GIBBS: Yes. FAITH: And where is this miraculous find? GIBBS: Well, he went to the bathroom on the way in. He should be here any... Lieutenant Commander Coleman. Hitoshi Yoshida. Former Lieutenant, Japanese Imperial Army. FAITH: You were an Imperial Army Lieutenant? YOSHIDA: Army of Emperor... Lieutenant. Hai. FAITH: Taken prisoner by Marines on Iwo Jima? YOSHIDA: Marine....to... GIBBS: English isn't his thing. FAITH: Gibbs. I don't know what you're trying to do. GIBBS: Trying to get to the truth, Faith. FAITH: (LONG bat) You're only delaying the inevitable. GIBBS: All we have to lose is a little time. FAITH: Okay, I will give you a little time. CUT TO: INT. OBSERVATION ROOM - DAY FAITH: What's Gibb's doing?(SFX: MATCH LIGHTS) DUCKY: He's creating the smell of sulfur. CUT TO: INT. INTERROGATION ROOM GIBBS: Corporal Yost. YOST: Sir! GIBBS: Iwo Jima. Hill Three Eighty-two. The Meat Grinder. CUT TO: INT. OBSERVATION ROOM - DAY TONY: Start the tape. CUT TO: INT. INTERROGATION ROOM (SFX: MATCH LIGHTS) (SFX: VIDEO OF LANDING PLAYS) NARRATOR: (V.O.) Five hundred landing craft in ten waves advance on three thousand yards of beach. (SFX: explsin ON TAPE) (SFX: MATCH LIGHTS) GIBBS: Night patrol. Probing Japanese lines. You, Private Stearns, Private Bellows, Private Morris, Corporal Kean. (SFX: explsin ON TAPE) YOST: I klled him. GIBBS: He stepped on a mine. YOST: Blew his legs off. But I klled him.(SFX: MATCH LIGHTS) YOSHIDA: (SHOUTS IN JAPANESE) Tonight we kll Marines! Their blood will honor us! (SFX: explsin ON TAPE) (SFX: MATCH LIGHTS) CUT TO: EXT. IWO JIMA - FLASHBACK (SFX: explsin ON TAPE) (KEAN SHOUTS/ CRIES B.G.) CORPORAL YOST: (WHISPERS) Quiet! Shh! You gotta keep quiet, Wade! Come on! (KEAN SHOUTS/ CRIES LOUDLY B.G.) YOST: (WHISPERS) Suck it up, Wade! Try! KEAN: I can't! BELLOWS: (WHISPERS) Shut him up! Shut him up! YOST: Shh. Wade, shh! CUT TO: INT. INTERROGATION ROOM YOSHIDA: (IN JAPANESE) Quiet! CUT TO: EXT. IWO JIMA - FLASHBACK BELLOWS: (WHISPERS) Ernie, do something!(SFX: KEAN CRIES LOUDLY) CUT TO: INT. INTERROGATION ROOM (INTERCUT FLASHBACK SCENE) (SFX: gn) YOST: Shh! YOSHIDA: (IN JAPANESE) I hear something! YOST: Shh! Shh! CUT TO: EXT. IWO JIMA - FLASHBACK CORPORAL YOST: Shh! Shh! Shh! Shh!(SFX: KEAN CRIES LOUDLY) BELLOWS: Ernie! STEARNS: Ernie, shut him up! Shut him up! BELLOWS: Ernie, make him stop! CORPORAL YOST: Sorry, buddy.(SFX: RAPID gn B.G.) (SFX: VOICES IN JAPANESE B.G.) CUT TO: INT. INTERROGATION ROOM YOST: (CRIES) Sorry, Wade! I'm sorry. CUT TO: INT. OBSERVATION ROOM YOST: (CRIES/V.O.) I'm sorry. TONY: Well... FAITH: I will inform the SECNAV that former Marine Corporal Ernest Yost is suffering from Delayed Stress Syndrome. Corporal Kean was klled in action. Not by Yost. CUT TO: INT. NCIS SQUAD ROOM - DAY YOST: You're not going to arrest me either? GIBBS: Nope. You struck Corporal Kean to quiet him, not to kll him. You had no choice. Sit down. YOST: How can I be sure? Tell me that, Gibbs. How can I ever be sure? GIBBS: You met Dorothy in Hawaii after you were wounded on Guadalcanal. YOST: Yes. She was a Navy nurse. GIBBS: You decide to get married before you shipped off to Iwo? YOST: Yeah, I told you. It was love at first sight. We were going to get hitched when one of us was discharged. GIBBS: Who was going to be your best man? YOST: That was going to be Wade. He was...(bat) I asked Wade! He knew I was going to marry Dorothy! He said no hard feelings. He thought we were meant for each other. GIBBS: Ernie, you did what you did to save the rest of your patrol. No other reason. Come on, Corporal. Let a gn buy you dinner. YOST: You were never an officer? GIBBS: Oh hell no! YOST: I knew there was something about you I liked. CUT TO: INT. RESTAURANT - NIGHT GIBBS: Semper fi! YOST: Semper fi! (SFX: YOST CHOKES ON SAKI) YOST: Sail again? GIBBS: Yeah, why not? (IN JAPANESE) More saki, please! YOSHIDA: (IN JAPANESE) More saki. Coming up. Hai. GIBBS: (IN JAPANESE) Thank you. YOST: You conned me, gn! GIBBS: Nah. Would I do that to you? YOST: You're damn right you would! And I want to thank you for it. (TO YOSHIDA) And you were never on Iwo Jima. YOSHIDA: Iwo Jima. No. YOST: Ah. YOSHIDA: (HALTINGLY) Guadalcanal. (MUSIC UP OVER ENDING CREDITS UP AND OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x07 - Call of Silence"}	foreverdreaming
FADE IN: INT. NURSES' STATION - DAY DOOLEY: Tell me he's asleep. NURSE: Doctor Byers saw to that. Gave him Percocet before she left. DOOLEY: If I were her, and he called me in at two in the morning, I would have klled him. (SFX: FLAMES EXPLODE) (DOOLEY AND CORPSMAN RUSH TO THE DOOR) (FADE OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. BASEMENT - MORNING "HEART BREAK" (SFX: RADIO B.G.) (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Yeah, it's Gibbs. No, you did not wake me up, DiNozzo. Mmm...okay, I'll meet you there. (TO REDHEAD) Hey, can you drop me by Bethesda? CUT TO: EXT. HOSPITAL - DAY TONY: Ho! You got here quick. Where were you? KATE: Home asleep. TONY: Asleep, maybe. But not at home. I got you on your cell. KATE: Drop it, DiNozzo. TONY: Do not make this a challenge, Kate. I will find out. Oh boy. (CAR BRAKES TO A STOP) GIBBS: See ya. TONY: Looks like you and I were the only ones flying solo last night, McGee. MCGEE: Speak for yourself. (TO GIBBS) Morning, Boss. GIBBS: Where? KATE: First floor. A-wing. TONY: Some kind of explsin. Guy went up in flames. CUT TO: INT. HOSPITAL CORRIDOR - DAY GIBBS: Name? TONY: Commander Michael Dornan, Safety Officer on the Kennedy. GIBBS: Which just got back from the Gulf. TONY: `Yeah, Friday. He'd been complaining of chest pains. Had open heart surgery four days ago. The doctor who led the team that operated on him is on the way in. GIBBS: I'll talk to him. TONY: That would be a her, boss. Commander Janice Byers. CUT TO: INT. HOSPITAL ROOM - DAY TONY: Oh! That had to hurt. GIBBS: What started the fre, Duck? DUCKY: The source of the conflagration appears to be internal. The majority of the damage is confined to the torso. KATE: He was receiving oxygen through a nasal canula. DUCKY: Still it would have needed a source of ignition, and I seriously doubt it could have caused this kind of damage. KATE: Could he have been smoking in bed? TONY: The Corpsman saw him ten seconds before the explsin. Dornan was out cold. MCGEE: Boss, listen, I know this may sound far fetched, but... GIBBS: Will you spit it out, McGee? MCGEE: Spontaneous human combustion. GIBBS: (bat) Where's the surgeon? TONY: She's in the waiting room. Just got here. (TO MCGEE) Probie, what are you thinking? Spontaneous human combustion? It's an urban myth. DUCKY: Actually, Tony, we shouldn't disregard the notion. Stories of the phenomenon go way back to the Bible in fact. But it wasn't popularized until Dickens. JIMMY: Charles Dickens? DUCKY: Yes, he used spontaneous combustion to kll off one of his characters, Mister Krook, in the novel Bleak House. It caused a minor uproar. Dickens was accused of perpetuating the age-old superstition. TONY: I saw that movie. DUCKY: The silent version or the British miniseries? TONY: They were talking. CUT TO: INT. WAITING ROOM - DAY BYERS: Commander Dornan was complaining of pain. He insisted the night staff call me in. GIBBS: Insisted? BYERS: The Commander liked to throw his weight around - especially with the junior nurses and the corpsmen. GIBBS: Normal post op pain? BYERS: To appease him I did an echocardiogram and he was fine. I gave him a Percocet for the pain so he could fall asleep. DUCKY: Ah... Jethro, I'll be-- GIBBS: You headed back? DUCKY: Yeah. GIBBS: Commander Byers, this is Doctor Mallard, our M.E. DUCKY: Hi. GIBBS: Doctor Byers is the surgeon that operated on the victim. DUCKY: Oh! GIBBS: Doctor Mallard is a man of few words. I don't have any more questions for you right now, Doctor. Thank you for your time. BYERS: Sure. (GIBBS WALKS O.S.) DUCKY: What exactly was the procedure? BYERS: Aortic valve repair. DUCKY: Congenital aortic stenosis? BYERS: Acquired. DUCKY: And the prognosis? BYERS: Everything went real well. I was expecting Commander Dornan to be back on active duty in two months. DUCKY: Oh, thank you. Uh... I may have to ask you a question or two after the autopsy. BYERS: I'll give you my numbers. (KATE YAWNS) TONY: It's too bad you didn't get to bed at a sensible hour. I mean sleep because obviously you were in bed. KATE: I get it, Tony. GIBBS: McGee. MCGEE: Yeah, boss? GIBBS: Stay here. Meet with the engineers and the plant manager. I want this oxygen system completely checked out. MCGEE: On it, boss. GIBBS: Everything in this room goes back to Abby. KATE: Everything? (bat) Right. GIBBS: Hey. Background the victim. KATE: This is the beginning of a very long day. TONY: Yeah. Too bad you had such a short night. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: I must say I was very intrigued by your doctor. I'm not quite sure why. Did you find her that way, too? JIMMY: It looks like he brned from the inside out. DUCKY: He does, doesn't he, Mister Palmer? Oh, that's the remains of his stomach. Make sure they get to Abigail for content analysis. JIMMY: Um... Doctor? DUCKY: Yes? JIMMY: Does it help you to talk to them? DUCKY: They're still human. Well what we do is very invasive and impersonal. It helps me establish a relationship. CUT TO: INT. NCIS LAB - DAY (SFX: DOORS SLIDE OPEN) ABBY: Hey, Gibbs. I hear you're not a fan of S-H-C. GIBBS: Is that a band? ABBY: No, spontaneous human combustion. GIBBS: Don't waste my time, Abs. ABBY: If you ever read my Master's thesis, you may become a believer. GIBBS: Doubt it. ABBY: I can show you photos of what was left of a two hundred and forty pound woman. GIBBS: Yeah, but you won't. ABBY: She was sitting in a chair. All that was left were blackened seat springs, a section of backbone, one foot still in a satin slipper, and ten pounds of ashes. The rest of her apartment was untouched. GIBBS: Abby, you know what? Just tell me what caused the explsin. ABBY: Ooh. A bribe. That always works. So I checked out all the electrical equipment from the hospital trying to find the source of the ignition. Nothing. Everything's in perfect working order, including this monitor which recorded the victim's vitals up until the point of blast off. GIBBS: Huh. ABBY: Somebody went a little postal with the fre extinguisher. It complicates finding trace evidence. GIBBS: The Commander was being barbecued. I doubt they were concerned with forensics. ABBY: True. GIBBS: You don't know what caused the explsin? ABBY: Other than S-H-C? GIBBS: All right. Get with Ducky. Maybe together you can solve it. ABBY: Roger that. When he's finished slicing and dicing, we'll go bang heads. GIBBS: Don't cause any sparks. CUT TO: INT. SQUAD ROOM - DAY KATE: (INTO PHONE) No, that's more than enough for now. Thanks for your time, Doctor. TONY: I was thinking of becoming a doctor. KATE: You? A doctor? TONY: Anthony DiNozzo, comma, M.D. KATE: Let me guess. A gynecologist? TONY: Ooh. No, I was thinking more dermatologist. Normal hours. Big bucks. Never an emergency. I mean, nobody ever died from a zit. MCGEE: I had a terrible case of acne as a kid. TONY: Of course you did, Probie. MCGEE: Boss, plant engineer says that oxygen is supplied to the rooms through a central system. They did a complete check and everything was in order. TONY: Day shift concurred with night shift. The Commander was a pain in the ass. KATE: Divorced, ten years ago. No kids. Wife's happily remarried living in Santa Fe. Um... parents are retired. One sister. And they're being notified by CACO. DiNozzo!(SFX: CELL PHONE CHIMES B.G.) TONY: Harrison? KATE: (V.O.) Hi. TONY: It's Harrison. KATE: (INTO PHONE) Um... I'm glad you called. CUT TO: INT. NCIS LAB - NIGHT DUCKY: I never cease to be amazed by your skill, Abby. You know, when I was a young M.E., we used to recreate crime scenes using interns. ABBY: You also used to listen to records and do the jitterbug. DUCKY: Actually, I was quite the hoofer.(DUCKY DANCES/ HUMS) GIBBS: Let's see it, Abs. ABBY: Based on the condition of the body, the burn patterns, and the debris scatter, we were able to recreate the explsin. TONY: Doesn't tell us much. ABBY: Watch when I rotate it one eighty and play it in slo-mo. That's the point of ignition. KATE: What caused the explsin? ABBY: Well, this was taken from that area of the mattress. DUCKY: I also provided Abby with epidermal scrapings from the victim's upper left torso. ABBY: And the spectrometer found minute traces of antimony sulfide and potassium chlorate on both. MCGEE: Matches. ABBY: Light my fre, McGee! GIBBS: Someone struck a match and ignited the oxygen. TONY: Well, according to the corpsman, the Commander was asleep. ABBY: This was no accident, Gibbs. Barbeque Boy - he was mrder. (MUSIC OUT) FADE IN: EXT. NCIS BUILDING - DAY GIBBS: Get back to Bethesda. Review their security... CUT TO: INT. SQUAD ROOM - DAY GIBBS: ... tapes. Find out how someone got into that hospital room and then managed to get out without being seen. MCGEE: On it, boss. GIBBS: Start a timeline. Twenty four hours before the explsin. I want to know every doctor, nurse, orderly, and visitor that went into that hospital room. You two are going to Norfolk. Dornan had spent the last nine months on the Kennedy. TONY: I'll get the car. KATE: What are you so jazzed about? GIBBS: He knows that the first person you'll be talking to is the NCIS Agent Afloat, Special Agent Paula Cassidy. KATE: (CHUCKLES) Oh, you're kidding. TONY: She was reassigned there. MCGEE: What am I missing? KATE: Paula Cassidy is a rather attractive agent that DiNozzo drooled all over last year when we were at Gitmo. TONY: Enough talk, Agent Todd. Let's go. CUT TO: INT. PASSAGEWAY - DAY TONY: Okay, zero two dash thirty two dash eight dash Q-B this way. KATE: The last time we were on a carrier, you were the one that got lost. Not me. TONY: I wasn't lost. I was momentarily disoriented. KATE: Oh, like you were with Paula at Gitmo. TONY: I'm not the type to kiss and tell, Kate. KATE: It's not like you to be discreet, Tony. She's something special, isn't she? TONY: Is he something special? KATE: Who? TONY: Mister Short Night Harrison. Six is two down this way. KATE: Nope, it's this way. Trust me. I'm right. (VOICE OVER P.A. B.G.) (KATE AND TONY CONTINUE WALKING) TONY: We have to check-in with the X.O. Why don't you take care of that? KATE: Why don't you? TONY: Because I outrank you. That'd be six up and three to the left. KATE: She is something special. (KNOCK ON DOOR) CASSIDY: (V.O.) Enter! CUT TO: INT. CASSIDY'S OFFICE - DAY CASSIDY: I was expecting Gibbs. TONY: Disappointed? Hi! You've been back a week. You didn't call. CASSIDY: I've been gone months. I didn't get any e-mails. TONY: Well, I figured you'd be too busy to reply. You were at sea with five thousand men. CASSIDY: I had trouble choosing. TONY: I guess I'm a hard act to follow. CASSIDY: Actually, I was afraid of making the same mistake. TONY: Ooh! Wow! Full contact. There. Nice. Let's start over. I'll go back outside and do this again. (DOOR OPENS) CASSIDY: It won't change anything. (DOOR CLOSES) CASSIDY: Commander Dornan really blew up? TONY: Literally. CASSIDY: There was no accident? TONY: It doesn't look that way. Was he having trouble with anyone aboard the ship? CASSIDY: Safety officers are generally disliked. They have the authority to stick their nose in anyone's department. No one can say a word. TONY: That sounds like Gibbs. So Commander Dornan made enemies. CASSIDY: He made an art of it. TONY: Definitely sounds like Gibbs. CASSIDY: So I've just been pulling files of all the people he put... TONY: Mmm... CASSIDY: ...Put on report. Could be the record for a cruise. TONY: Mm-hmm. CUT TO: INT. AUTOPSY ROOM - DAY GIBBS: How the hell did pure oxygen accumulate in the chest cavity? DUCKY: I do not know, Jethro. I mean, lungs I can understand. The Commander was receiving oxygen through a nasal canula, but the fre originated outside the lungs in the cavity. (SFX: DRAWER SLIDES SHUT) DUCKY: Doctor Byers, you're early! BYERS: No traffic. Copies of Commander Dornan's medical records. DUCKY: Oh, thank you. We were finished, weren't we, Jethro? GIBBS: (bat) We were, Ducky. BYERS: Ducky? DUCKY: Yes, it's something I was tagged with in school in my youth. I used to resent it. Now I quite like it. BYERS: So do I. (bat) Well, have you finished the autopsy? DUCKY: Yes. Oh! Yes, there was one question I wanted to ask you. Why did you choose to perform a valve repair as opposed to a valve replacement? BYERS: It was a close call, but Commander Dornan was insistent. If we replaced the valve, he wouldn't be able to go back on active duty. DUCKY: Yes, true. BYERS: But the team felt that the valve was repairable and it was. Ironic though, isn't it? We saved his life only to have him die in a freak accident. DUCKY: Oh, I'm afraid it wasn't an accident. CUT TO: INT. SQUAD HEADQUARTERS - DAY MCGEE: I reviewed the hospital surveillance tapes with security. Between the end of visiting hours and the fre, all but five people can be identified as hospital personnel. I downloaded them onto my laptop. GIBBS: Are you eliminating the hospital personnel, McGee? MCGEE: No, boss. No, definitely not. I'm going to check them all out. In the meantime, I'm going to run the five images through the face-recognition system. Just give me one second and I will have them up on the plasma. GIBBS: Agent Cassidy. CASSIDY: Special Agent Gibbs. TONY: Agent Cassidy pulled files on everyone Commander Dornan put on report. CASSIDY: Not a people friendly guy. GIBBS: Yeah, we'll have to get into all that. Are you ready? MCGEE: Yeah. My first pass at facial recognition will be against the data base of military personnel and government employees. CASSIDY: I can save you the trouble. That's Ensign Evan Hayes. He's in the engineering department on the Kennedy. Commander Dornan rode his ass. GIBBS: More than other young officers? CASSIDY: Yeah. He did not like him. I'm not sure why, but it got so bad that Ensign Hayes verbally thrat him. GIBBS: DiNozzo, get me the Report of Investigation. CASSIDY: There isn't one. Commander Dornan asked that I not write one up, that he would handle it himself. GIBBS: NCIS Special Agents do not look the other way because they're asked to, Agent Cassidy. CASSIDY: That wasn't what happened. GIBBS: Yeah? What happened then? CASSIDY: I felt sorry for the kid. He didn't deserve the abuse. Some people can handle it and he couldn't. And I didn't think it should show up on his record. GIBBS: Get Ensign Hayes in here, Agent Cassidy. DiNozzo, you go with her to make sure. KATE: Is that Dornan's surgeon with Ducky? GIBBS: Ducky's older, Kate. He's not dad. CUT TO: INT. PASSAGEWAY - DAY VOLAT: Ensign Hayes went U-A, Agent Cassidy. TONY: Isn't most of the ship on leave? VOLAT: Not Ensign Hayes. Commander Dornan put him on port watch. He was restricted to the ship. Two days ago he walked off. This is his quarters. We put out calls. Can't find him. CASSIDY: Thank you, Chief Volat. We're going to take another look around. CUT TO: INT. QUARTERS - DAY VOLAT: The scuttlebutt's that Commander Dornan was mrder. Ensign Hayes did it? CASSIDY: You've been in the Navy long enough to know not to listen to scuttlebutt. VOLAT: Yes, Ma'am. But I wouldn't blame him. Dornan rode him from the minute he came aboard. TONY: Why do I get the feeling you know why, Chief? VOLAT: Commander Dornan and I both served under Ensign Hayes' father, Captain Hayes. Dornan was a Lieutenant then who needed to be put in his place. Boy, did the old man do it. This cruise was payback time. TONY: All right, I've got to go topside to make a phone call. Thank you. CUT TO: INT. NCIS LAB - DAY ABBY: The E-K-G and the I-VAC recycle at timed intervals. I was able to salvage the last seven minutes of Dornan's vitals. I thought you could use them. DUCKY: Thank you. ABBY: Are you making a statement with this tie, Ducky? DUCKY: Oh, too much you think? ABBY: Oh, no no no. You can pull it off. So what's the big event? Dinner date? DUCKY: Too ordinary. ABBY: What then? DUCKY: I thought I'd show her something that reveals who I am. If she gets turned on, too, we haven't wasted our time. ABBY: You're the man, Ducky. Why can't I find someone like you? DUCKY: Well, if this doesn't work out, I am available. CUT TO: INT. POOL AREA - DAY (SFX: STARTER pstol) (SFX: SWIMMING) MORGAN: I'll be right back. CUT TO: EXT. AQUATIC CENTER - DAY (DOOR OPENS) MORGAN: Evan! What are you still doing here? You promised me you'd go back to your ship. HAYES: I can't, Coach. MORGAN: Now come on. A two day absence can't be that serious. HAYES: It's more than that. MORGAN: What? Did you call your father? HAYES: No. MORGAN: He could help you. HAYES: Commander Dornan put me through hell because of him. MORGAN: You can't blame everything on your father. You've got to take responsibility for yourself. You're throwing away your career. HAYES: I... I never wanted to be in the Navy. MORGAN: But you are. Promise me you'll go back to your ship, all right? Set things straight. SWIMMER: Hey coach! We're ready. MORGAN: All right. All right. I'll be right there. Hey, you're going back. HAYES: Hey coach, thanks. MORGAN: Keep me posted, huh? (MUSIC OUT) FADE IN: INT. SQUAD ROOM - DAY MCGEE: Ensign Hayes was recorded on the hospital security tape at zero two zero three and the explsin that klled Commander Dornan wasn't until zero three seventeen. Where was he between those times? GIBBS: Find him and you can ask him. Any hits on his cell phone or credit card? MCGEE: Nothing. KATE: Kate, what'd you learn? MCGEE: Dornan punished Hayes with port watch. He was one of the few left on board. Most of the others have scattered. GIBBS: They were away for nine months. KATE: Well, the few I could track down haven't heard from him. Ensign Hayes was your typical Navy brat. His family moved around a lot when he was young. He went to high school in Alexandria when his father was assigned to the Pentagon. GIBBS: Talk to the parents? KATE: The mother. When Captain Hayes retired they moved to Scottsdale. She seemed a little concerned because she hasn't heard from her son since the Kennedy made port. GIBBS: E-mail his photo to the locals. TONY: It's done, Boss. D.C., Virginia, Delaware, and Maryland. CUT TO: INT. PASSAGEWAY - DAY TONY: Do you need to get anything from your sleeping quarters? CASSIDY: What you're thinking is against regs. TONY: Great. You can handcuff me. CASSIDY: It's not going to happen, DiNozzo. TONY: (OVERLAP) Why not? CASSIDY: We're both game players. TONY: Too much alike, huh? CASSIDY: We would drive each other crazy. TONY: Crazy's good. CASSIDY: Yeah. CUT TO: INT. NCIS LAB - NIGHT MCGEE: Hey, what are you working on? ABBY: Stomach contents. Gastric juices and glandular secretions. MCGEE: Appetizing. ABBY: This is whacked! MCGEE: What... is whacked? ABBY: Something is missing that should be here. CUT TO: INT. AUTOPSY ROOM - NIGHT JIMMY: I'm going to have to lock you up for the night, Commander. (SFX: DRAWER SLIDES SHUT) ABBY: (V.O.) No, don't leave me in the dark! JIMMY: Abby, you made me almost --! ABBY: Made you almost what, Jimmy? JIMMY: You know what! ABBY: Where's Ducky? JIMMY: He left early. ABBY: Can you get him on his cell? JIMMY: Is something wrong? I guess he doesn't want to be disturbed.(SFX: PHONE RINGS B.G.) CUT TO: EXT. BASEMENT - NIGHT (SFX: GATE SLIDES OPEN) BYERS: When you asked me out, I didn't expect to be touring the basement of the Smithsonian. DUCKY: Well this is where they prepare the exhibits. Can't you just feel the history, Janice? BYERS: Where do we start? DUCKY: This is my favorite. These were used by Army surgeons Joseph Woodward and Edward Kurtis at the post mortem of Abraham Lincoln and performed in a guest bedroom at the White House. The Lincoln bedroom, hence the popular misconception. Lincoln never slept there. BYERS: How do you have access to this? DUCKY: I consulted on Lincoln's autopsy. That is the ball, fired by Booth, that klled Lincoln. These bits of bone are skull fragments. BYERS: You're an unusual man, Ducky. DUCKY: Would you care for a bite to eat? BYERS: We just got here. DUCKY: Yeah. (DUCKY UNCOVERS THE TABLE) BYERS: Oh, wow! DUCKY: How does a woman like you end up in the Navy? BYERS: My father's a retired Chief Petty Officer. DUCKY: You ever contemplate private practice? BYERS: Actually, my obligation to the Navy is up. I'm leaving next month to accept an offer from Columbia Pres. DUCKY: New York. Now that is exciting. (SFX: CRYSTAL RINGS) CUT TO: INT. SQUAD ROOM - NIGHT (SFX: PHONE RINGS) MCGEE: Thanks. (INTO PHONE) NCIS Special Agent McGee speaking. GIBBS: Thanks. MCGEE: (V.O.) Really? When did this happen? GIBBS: What? KATE: Why are you being so tough on Agent Cassidy? GIBBS: I haven't done anything to her yet. KATE: You made her spend the day, alone, with DiNozzo. GIBBS: She survived. They're on their way back. MCGEE: Wait boss, one second. (INTO PHONE) Okay, got it. Thank you, Ma'am. (TO GIBBS) Ensign Hayes just made a charge on his credit card. A hotel on Brannick Road.... GIBBS: (OVERLAP) Contact DiNozzo and Cassidy. Have them meet us there. You man the phones. Kate, come on. Let's go. CUT TO: INT. HOTEL LOBBY - NIGHT GIBBS: Gibbs, NCIS. SPENCER: May I see that please? (bat) Okay. What can I do for you, Agent Gibbs? GIBBS: You just checked in an Evan Hayes. What room is he in? SPENCER: That would be illegal to release that information. KATE: We're investigating a crime and we need to speak with him. SPENCER: Then I suggest you get a warrant. GIBBS: Hayes is in the United States Navy. As you just saw, I'm a Special Agent in the Naval Criminal Investigative Service. I don't need a civilian warrant. SPENCER: You're absolutely correct there, Sir. You need the military equivalent, a D-D-Five-Five-Three. GIBBS: Are you a law student? SPENCER: Second year Georgetown. GIBBS: I'm going to give you a lesson tonight in practical law. I'm going to ask for Hayes' room key. Politely. And you're going to hand it over. SPENCER: Key? Hotels haven't used keys in years. KATE: If he has to wake up a judge, nobody is going to be happy. SPENCER: Okay. But announce yourself first. That's in compliance with the recent Supreme Court Decision. CUT TO: INT. HOTEL CORRIDOR - NIGHT GIBBS: All right, Tony you're with me. Kate seal off the hallway. Paula you've got the service elevator. All right, we announce and then we go in. Okay. CUT TO: INT. HOTEL ROOM - NIGHT (SFX: MUSIC PLAYS B.G.) (DOOR OPENS) GIBBS: (SHOUTS) NCIS! Put your hands up! Put your hands in the air! Up! Up! Up! Get them up! Party's over. Get up! Where is Ensign Hayes? Put your hands down. One of you checked in as Evan Hayes. DiNozzo, search them and find the credit card. TONY: Let's see some I.D. TIFFANY: Just give it to them, Jonathan. TONY: Thank you, Jonathan. GIBBS: Where'd you get this? JONATHAN: A guy gave it to me. GIBBS: You're going to have to do better than that, Jonathan. JONATHAN: Look, I swear, it's the truth! We were hanging out after swim practice and this strange guy just walked in. TIFFANY: Really spaced. JONATHAN: He...he just handed me the card and said that we should have a good time with it, that he didn't need it anymore. TIFFANY: It's true, Mister. He was trying to get rid of us. JONATHAN: He said he wanted to use the pool. TONY: And you didn't think that was a little weird? JONATHAN: Well, yeah, but I mean he said we could party with his credit card. GIBBS: Where's the pool? JONATHAN: Alexandria Central High. GIBBS: Agent Cassidy, you and DiNozzo babysit these people until their parents get here. And collect their car keys. JONATHAN: Ah, come on, man. TONY: Nobody likes a whiner, Jonathan. Nice shirt. (TO CASSIDY) See? I knew we'd end up in a hotel room tonight. CUT TO: INT. POOL BUILDING - NIGHT (MUSIC OVER ACTION/ GIBBS/ KATE AND MCGEE MOVE SLOWLY THROUGH THE BUILDING) GIBBS: Special Agent Gibbs, NCIS! Get down on your stomach. Spread your arms and legs. Quickly. HAYES: I'm done taking orders! GIBBS: Do it now, Ensign Hayes! No, son. You don't want to do that. HAYES: Then put the wapon down! GIBBS: No, I can't. I've got to cover my partner, isn't that right, Kate? KATE: Right. HAYES: A woman.... I would never hurt a woman. GIBBS: Okay. I'm holstering my wapon, okay? All right, your turn. HAYES: I've been trying to pull this trigger all night, but I can't because I'm a coward. GIBBS: You're not a coward. You just don't want to die. HAYES: I can't spend the rest of my life taking his orders! GIBBS: Commander Dornan pushed a lot of people's buttons, not just yours. HAYES: Commander Dornan? He's not my problem anymore. This is the only place I ever felt safe. It's the only place I was ever happy. GIBBS: All right, let's talk about it. HAYES: It's too late to talk. GIBBS: Don't do it. (SFX: gn) (CUT TO BLACK) FADE IN: INT. AUTOPSY ROOM - NIGHT MORGAN: That's Evan. He was troubled, but I had no idea he was suicidal! GIBBS: He was suspected of mrder. MORGAN: mrder?! Evan! No way! KATE: We think he klled a superior officer at the Bethesda Naval Hospital Tuesday. MORGAN: Tuesday? When? KATE: A little after zero three hundred. MORGAN: Three a.m.? No, that's impossible. He was with me. He called. He woke me and my wife up. He wasn't making any sense. I told him I'd come get him. I picked him up in front of the hospital around two. KATE: You must have the wrong time. MORGAN: No, I'm certain. KATE: Well that's not possible. GIBBS: Agent Todd, I'll meet you up in the squad room. KATE: (OVERLAP) No, Gibbs! That would mean...! (KATE WALKS O.S.) (SFX: DOORS SLIDE OPEN) GIBBS: How long were you with him? MORGAN: We stayed up talking all night. GIBBS: About what? MORGAN: Mostly his father. They had a lot of problems. GIBBS: Ensign Hayes tell you why he was at the hospital? MORGAN: He said he wanted to confront someone who was giving him a hard time, but he lost his nerve. (MORGAN CRIES) MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY TONY: Ensign Hayes has an alibi? KATE: What's going to happen? GIBBS: Nothing. You did everything by the book. KATE: I klled an innocent man, Gibbs! GIBBS: It was su1c1de by cop, Kate. Get over it. We focused on the wrong guy. MCGEE: No one went in or out of Commander Dornan's room between the time the corpsman checked up on him and the explsin. GIBBS: What about the corpsman? MCGEE: I checked his record against the Commander's. Their paths never crossed until the Commander came in for surgery. GIBBS: There were four others on the security video you couldn't identify. MCGEE: Right. I've cleared three of them. One is still unknown... and I'm on it. GIBBS: Go back to the ship. Go over your files again. CASSIDY: Agent Gibbs, I need to explain. GIBBS: There's nothing to explain, Agent Cassidy. You didn't file a report, now two Naval officers are dad. Would it have mattered? We'll never know. DiNozzo! Go down to the lab. Go over all the physical evidence from the hospital room again. TONY: Uh... what am I looking for? I'll figure it out. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Good morning, Mister Palmer. Oh, is that the Ensign Agent Todd sht? JIMMY: Yes, Sir. DUCKY: Oh dear. JIMMY: Oh, Abby wanted you to see this as soon as you got in. DUCKY: Mister Palmer! I want Commander Dornan's remains back on the table. (INTO PHONE) Kate, how are you? (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) KATE: (INTO PHONE) Well, I sht an innocent man if that gives you any ideas. (SCENE CUT) DUCKY: (INTO PHONE) I'm sorry. I need a service record. (END TELEPHONE INTERCUTS) CUT TO: INT. LAB - DAY (SFX: TONY KNOCKS TO THE MUSIC) (SFX: BEEP TONES) TONY: Whoa, whoa, whoa. ABBY: Stop playing with my equipment! TONY: I haven't had a woman say that to me in a long time. Sorry. ABBY: You break anything, you're dad meat. TONY: What are you working on? ABBY: Evidence analysis report, DiNozzo. TONY: I think you misspelled tetrafluoroethylene. I'm a great speller. ABBY: Don't you have somewhere else to be? TONY: Gibbs told me to go through the physical evidence. ABBY: Oh, he expects you to find something that I didn't? TONY: Just another set of eyes, Abs. ABBY: I really need to finish this. TONY: Sorry. Dornan's personal effects? ABBY: Yeah. TONY: Ooh. Well he didn't only have heart problems. This guy was blind! Did you find any trace of cigarette ash? ABBY: In an oxygen fre? I don't think so. Wait! I did find something that might be a cigarette filter. TONY: Abby, I think I know how the oxygen was ignited. CUT TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN) KATE: Here are the service records you asked for, Ducky. DUCKY: Thanks. Thanks, Kate. Thanks. (SFX: DOORS SLIDE OPEN/ CLOSED CUT TO: INT. LAB - DAY GIBBS: Abby, what do you got for me? ABBY: Not me. Cecile B. DiNozzo. TONY: Stalag Seventeen. G.I. uses a cigarette as a time fuse to blow up a nzi train. Come on, guys. Don't try this at home, McGee. It's for grownups. GIBBS: DiNozzo(SFX: TONY SMOKES/ COUGHS) TONY: How do people do this? Okay, the cigarette becomes a time fuse. Check this. (SFX: MATCHES LIGHT) TONY: Uh-huh. In real time it takes about twelve minutes for it to reach the matches. ABBY: It's cool, huh? The kller placed it next to Dornan's side under the tented sheet, next to the open oxygen line. TONY: Then he left the room. GIBBS: Who was there twelve minutes before the fre? MCGEE: Doctor Byers. KATE: She was the one who mrder him?! DUCKY: He wasn't mrder. Commander Dornan died as a result of his surgery. Doctor Byers made it look as if he was mrder. KATE: Well who was she trying to frame? DUCKY: No one. She was covering her mistake. In nineteen ninety-five, she was the subject of a malpractice investigation on a heart valve repair almost identical to the one she performed on the Commander. ABBY: So how do you know that he was dad before the fre started? DUCKY: I compared Dornan's preview E-K-G to the last I-VAC recording. That heartbeat wasn't his. GIBBS: She still could have mrder him. DUCKY: Well, not intentionally. GIBBS: Doctor... DUCKY: You trust my gut on this one. CUT TO: INT. CORRIDOR - DAY BYERS: Everything is fine. I'll see tomorrow.(VOICE OVER INTERCOM B.G.) PATIENT: That's great. BYERS: You're welcome. PATIENT: Thanks you, Doctor Byers. BYERS: Ducky! What a pleasant surprise. Special Agent Gibbs. DUCKY: Janice, there was no Percocet in Commander Dornan's stomach. BYERS: I'm glad it's over. CUT TO: INT. WAITING ROOM - DAY BYERS: Dornan was in pain and demanded to see me. I rushed to the hospital, did an echocardiogram and realized not replacing the valve was a mistake. It was failing. DUCKY: Why didn't you operate immediately? BYERS: When I told him he became hysterical. He went into cardiac arrest. I tried to resuscitate him, but couldn't. A second failed valve repair would end my career, and the job at Columbia Pres. I panicked. I tried to cover up. CUT TO: INT. HOSPITAL ROOM - FLASHBACK BYERS: (V.O.) I placed the EKG sensors on my own chest. I turned off the audible alarm, cleared the record data, and reset the time/date stamp ahead fifteen minutes. I disconnected the oxygen tube from his nasal canula and inserted it into his incision so the oxygen could accumulate in his chest cavity. Then using one of his own cigarettes and a match book... I placed it on the bed. CUT TO: INT. WAITING ROOM - DAY BYERS: On my way out I stopped by the nurses' station and told them that I had sedated him and he was resting, and to check on him in a half hour. DUCKY: Janice, you didn't kll him. BYERS: But I did... by not replacing the valve in the first place. CUT TO: INT. SQUAD ROOM - DAY CASSIDY: (V.O./FILTERED) This is Paula. Leave a message. TONY: (INTO PHONE) Hey. It's me. Come on, just 'cause you're pissed at Gibbs is no reason not to return my calls. Right? So dial the number 'cause you've got it. Okay. (HANGS UP PHONE) MCGEE: Sometimes you've just got to know when to let go, Tony. TONY: You don't really expect me to take advice about women from you, do you? MCGEE: I could stay here and argue the point, but I have a date. GIBBS: So? Now what? DUCKY: I don't know. GIBBS: You can't let any woman affect you like this, Duck. Especially one you didn't know that well. DUCKY: My concerns are more immediate. I have two tickets to the opera tonight. She was going to accompany me. Jethro? GIBBS: No. DUCKY: I wonder if Kate would be interested. Do you know where she is? TONY: No. CUT TO: INT. AUTOPSY ROOM - DAY (MUSIC OVER ACTION/ KATE LOOKS AT ENSIGN HAYES) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x08 - Heart Break"}	foreverdreaming
FADE IN: INT. LIVING ROOM - NIGHT (WOMAN SCREAMS ON T.V.) LAURA ROWANS: Keep screaming, honey. That way the monster will never find you. CUT TO: INT. KITCHEN - NIGHT (SFX: REFRIGERATOR DOOR OPENS) (SFX: GLASS CRASHES TO THE FLOOR) JEREMY: Boo! (SFX: LAURA SCREAMING) (LAURA RUNS FROM THE KITCHEN TO THE LIVING ROOM) JEREMY: Shh! Shh! We don't want to wake the neighbors now, do we? No rough stuff yet. This is gonna be good. Whoa. Hey! Easy now. Easy. Easy. Please don't...! (SFX: gn B.G.) (SFX: JEREMY COUGHS) (CUT TO BLACK) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) MUSIC IN: EXT. BASE HOUSING STREET - DAY "FORCED ENTRY" GIBBS: Break out the gear. I'll coordinate with the MPs. You drink that, DiNozzo, you're dad. TONY: Just my luck. One more hour and we'd have been off duty. KATE: Got big plans today, Tony? TONY: Well, it is Saturday, Kate. What do you think? KATE: Oh, you have a date with a girl who can't spell her last name? First name? TONY: Oh, I... no, I was supposed to volunteer at the Eighth Street soup kitchen today. KATE: You help feed the homeless? TONY: Don't be so surprised. KATE: Sorry, I just never pictured you as the volunteer type. TONY: Yeah? There's a lot about me you don't know, Kate. KATE: You're right. I'm actually impressed for once. TONY: Coffee, Probie? It looks like you can use it. MCGEE: Oh, thanks, Tony. TONY: Don't mention it. MCGEE: You know, I think he's finally starting to warm up to me. He even invited me to a party this afternoon. KATE: Good -- Where? MCGEE: It's a soup kitchen in D.C. A bunch of Playboy centerfolds are hosting a fundraiser there. CUT TO: INT. LIVING ROOM - DAY HEGARTY: Seems pretty open and shut. Perp broke in and tried to rpe her. She sht him. Guy's in critical conditional at the base hospital. I have a Marine standing guard. GIBBS: You ID him yet, Sergeant? HEGARTY: No, and he's not exactly in talking shape either, Sir. TONY: With this much blood loss, guy's lucky to be alive. GIBBS: Where's Mrs. Rowans? HEGARTY: With the neighbor next door. GIBBS: I'll need a statement. HEGARTY: (INTO RADIO) This is Sergeant Hegarty. Bring Mrs. Rowans home. I'll meet you out front. GIBBS: Where is the wapon? HEGARTY: It's over here on the other side of the couch. GIBBS: Did you touch it? HEGARTY: Hell no, Sir. I did get the serial number though. It's registered with the Provost Marshal under her husband's name, Major David Rowans. He's deployed in Iraq. Been gone for over five months. KATE: We checked the exterior of the house, Gibbs. No sign of a forced entry. HEGARTY: They tend to leave their doors unlocked. KATE: "They", Sergeant? HEGARTY: Well, this is a military base, Ma'am. The women expect a certain level of security in their own homes. I suspect that'll change after today. GIBBS: Kate, DiNozzo, I want you to head over to the base hospital. I want this dirtbag's personal effects and his prints. KATE: Yeah. GIBBS: You enjoying that coffee, McGee? MCGEE: Uh... yeah? GIBBS: It's not too hot? MCGEE: (LONG bat) It's your coffee. I'm sorry, boss. I'll get you another one. (TO TONY) Thanks. KATE: Maybe next time you should remember Rule Twenty-three. TONY: Is that the one about not marrying a woman who eats more than you do? HEGARTY: Never mess with a Marine's coffee if you want to live, Agent DiNozzo. TONY: That's right. dad man walking. MUSICAL BRIDGE TO: INT. KITCHEN - DAY (SFX: EMAIL CHIME) LAURA ROWANS: (V.O.) Let me guess. You take it black, Agent Gibbs. Marines always do. (ON CAMERA) What about you, Agent McGee? Cream and sugar? MCGEE: Uh... you know, I still have to take some photos outside so maybe later. But thank you. LAURA ROWANS: Is he old enough to be an NCIS Agent? GIBBS: I ask myself that everyday. Thanks. LAURA ROWANS: Oh, sorry. This place is such a mess. I wasn't expecting any company. Am I in trouble, Agent Gibbs? GIBBS: You do what you had to do, Mrs. Rowans. LAURA ROWANS: Please, call me Laura. GIBBS: I just have a few questions I need to ask you, Laura. LAURA ROWANS: Is he going to die? GIBBS: Maybe. LAURA ROWANS: I just wanted him to go away. I didn't want to kll him. GIBBS: Did you know him? LAURA ROWANS: I never saw him before in my life. GIBBS: Any idea how he got in? LAURA ROWANS: I usually leave the back door unlocked when I'm downstairs. My... husband doesn't like me to smoke inside the house. GIBBS: Is he the one who taught you how to sh*t? LAURA ROWANS: Yeah. GIBBS: He's a smart guy. How long have you two been married? LAURA ROWANS: Civilian time? Four years. Marine time is more like two. He's been away a lot. GIBBS: It must get lonely. LAURA ROWANS: Um... we don't have kids so I don't really fit in with the wives on base. I manage I guess. GIBBS: You have a place to stay tonight? LAURA ROWANS: My mom lives in Maryland. Is it okay if I go there? GIBBS: Mm-hmm. Just make sure we have her number. If you uh... if you think of anything or if you want to talk, you can give me a call or you could e-mail me. Night or day. CUT TO: INT. HOSPITAL CORRIDOR - DAY KATE: I hate hospitals. TONY: Maybe we'll get lucky and he's already dad. KATE: Hi. I'm Special Agent Todd. TONY: Tony DiNozzo, NCIS. This is Special Agent Todd. I'd love to ask you a few questions, say over lunch, Lieutenant...? KIM: Ah Kim. And this is my engagement ring, Agent DiNozzo. I brought my lunch. How can I help you? TONY: What can you tell us about the gn victim brought in last night? KIM: I already told the MPs everything I know. KATE: We're not MPs. What kind of shape is he in? KIM: Mmm... sab for the moment. KATE: Well, we'll need to talk to him. KIM: You'll have to come back tomorrow. He's in ICU. KATE: He might be dad tomorrow and we need answers now, Lieutenant. KIM: He's not conscious and he won't be until tomorrow, Agent Todd. TONY: What about his personal effects? KIM: Right here. We had to cut off most of his clothing. KATE: We'll need to get his prints before we go. KIM: That will also have to wait until... KATE: Tomorrow? Right. Lieutenant, this man tried to rpe someone. So I... TONY: (OVERLAP) We'll come back. Agent Todd, make sure the M.P. guarding him doesn't screw up the DD-nine-three-two-A-six form the way he did last time. He does and it's your ass. We clear? KATE: Crystal. TONY: Crystal... what? KATE: Sir. TONY: Better. Now get moving, I don't have all day. KIM: Your M.P.'s outside Room one-oh-seven.(KATE WALKS O.S.) TONY: So wait. So what were you saying before about not being married? Or you're almost married, thinking about it, on a fence. CUT TO: EXT. ROWANS RESIDENCE - DAY MCGEE: Every road with access into Quantico is blocked by armed gate guards. There's Marines everywhere. So why would a rpist choose a victim here? HEGARTY: Maybe he's got a death wish, Agent McGee. MCGEE: There's easier ways to die. It doesn't make sense. HEGARTY: You about done here, Sir? GIBBS: Yeah. How about it, Sergeant? Just one thing. How'd that dirtbag get on base? HEGARTY: I've been asking myself that same question, Agent Gibbs. GIBBS: I want you and your Marines to check every car within a five mile radius of Laura Rowans' house. HEGARTY: For what specifically? GIBBS: Make sure their military decals are current and they match up with the plates on the car. HEGARTY: You got it. GIBBS: Whoa. Any cars don't check out, you call me, okay? BOY TWO: (V.O.) Hey man, throw it! (GIBBS THROWS THE FOOTBALL) BOY ONE: Whoa! BOY TWO: Oh yeah! MUSICAL BRIDGE TO: INT. HOSPITAL ROOM - DAY (VOICE OVER P.A. B.G.) (ACTION CONTINUES: KATE TAKES FINGERPRINTS AND PHOTOS) JEREMY: It was... was a game. Laura invited me over... I thought she loved me. (CUT TO BLACK) FADE IN: INT. SQUAD ROOM - DAY KATE: According to our rpist, he was invited over by Laura Rowans. TONY: Oh! What was that little tip that I picked up as a cop in Baltimore? Right. Oh yeah, rapists are liars, Kate. MCGEE: I don't think we should rule out anything, Tony. TONY: Oh, really? Do you now, Probie? MCGEE: All we have is Mrs. Rowans' word for what happened last night. TONY: So do you want to drag her in here and accuse her of attempted mrder, McGee? MCGEE: No, I didn't say that. TONY: No, let's do it. It's not like she hasn't been through enough crap already. MCGEE: Well, you would know, you're the master at giving it. TONY: Watch your lip, Probie. KATE: Hey! TONY: Your quivering lip! KATE: (SHOUTS) Hey! God, I swear the two of you are worse than my brothers, and they're practically psychotic. We have to I.D. this guy. If we find a connection between the two of them, we bring Laura Rowans in for questioning. Agreed? GIBBS: His name's Jeremy Davison. Sergeant Hegarty found his car parked outside the Quantico rear gate. Keys, wallet, I.D. all inside. Run his phone records, see if he ever communicated with Mrs. Rowans. TONY: I am on it. GIBBS: McGee. MCGEE: Yeah, boss? GIBBS: Get me a search warrant for that address. MCGEE: On it. GIBBS: Hey Kate. Your brothers are really like that? KATE: Sadly, yes. GIBBS: Huh. That explains a lot. CUT TO: INT. LAB - DAY ABBY: Jeremy Davison has no criminal record, Gibbs. He's a civilian, no ties to the military, his prints don't match any open case files. The boy doesn't even have a speeding ticket. And we're talking cleaner than clean, whiter than white. If you put him in a line up with snow, snow is going to jail. GIBBS: Or it just means he's never been caught. ABBY: Or it just means he was never caught. GIBBS: I want you to run the DNA of his blood. Cross reference it with every database you can think of. ABBY: Well, considering there's no centralized DNA depository, that could take months and months and months and months and months. GIBBS: Uh-huh. Then you'd better get started. ABBY: You think he did it? GIBBS: Kind of depends on your definition of "it." ABBY: Spoken like a true politician, Gibbs! CUT TO: INT. SQUAD ROOM - DAY TONY: Still going through his phone records, boss. Nothing so far to or from Quantico. GIBBS: Home and office? TONY: And cell. MCGEE: I've got the warrant for his apartment. It's in Alexandria. GIBBS: Keys. TONY: I'll get the sedan. GIBBS: No, you stay with the phone records. McGee, I want everything there is on Davison by the time I get back. Kate! Come on. You're with me. Let's go. CUT TO: INT. APARTMENT - DAY (DOOR OPENS) GIBBS: Clear. (DOOR CLOSES) GIBBS: Clear. KATE: This is sort of how I always pictured Tony's place. GIBBS: Yeah, except DiNozzo has better furniture. All right, let's find out who this guy really is. KATE: You might want to come take a look at this, Gibbs. She had to have sent him that. GIBBS: Yeah. How do you figure that? KATE: Well, let's just say theoretically I had a picture like this. I... I wouldn't be handing them out on a street corner. GIBBS: Yeah, well, okay, since we're being theoretical what about if the guy happens to work in a photo shop? KATE: Here's an email from Laura Rowans to Davison. (READS) The thought of us possibly meeting nice guys is both exhilarating and terrifying. On one hand I can imagine you throwing me down... whoa! GIBBS: Whoa what? KATE: Whoa. It's pretty specific. Gibbs? GIBBS: Yeah. KATE: Uh... by specific I mean explicit... in the truest most prn sense of the word. GIBBS: Yeah, I'd say that's specific, Kate. Bag it. (DOOR OPENS/ CLOSES) MICHELLE: Jeremy? GIBBS: Not here. MICHELLE: Who the hell are you?! GIBBS: Special Agent Gibbs and Todd. NCIS. MICHELLE: NCI what? KATE: We're Federal agents executing a search warrant. Who are you? MICHELLE: Michelle. Michelle Davison. Jeremy's sister. Is he okay? GIBBS: Your brother was sht last night breaking into a home on a Marine base. He's in critical condition. MICHELLE: Oh, my god! I knew it. I knew something like this was going to happen. KATE: Something like what? MICHELLE: He went on a date last night with some girl he met on the internet. CUT TO: INT. NCIS LAB - DAY ABBY: Ooh, is it my birthday? GIBBS: Yeah. You see a bow on top? KATE: We think Laura Rowans was having an online affair with Jeremy Davison. ABBY: Really. I could have told her internet romances never work out. TONY: They all end in attempted mrder, Abby? ABBY: Only the really hot ones, Tony. GIBBS: I want proof it's true before I drag Mrs. Rowans in here. ABBY: Is this Davison's computer? GIBBS: Yep. ABBY: Well, if I'm going to find something conclusive, Gibbs, I'm going to have to have the lady's as well. GIBBS: McGee's on his way with it. ABBY: Then we're in business. When do you need it by? GIBBS: Now. TONY: Wow, Laura Rowan wrote these? KATE: Allegedly. TONY: Okay, Abby, I'll of course need copies of all of them, all right? What? ABBY: Hey, McGee. You ready to plunge into the seedy side of the internet with me? MCGEE: I thought we agreed never to discuss that at work. ABBY: McGee, I'm talking about the case. MCGEE: Right, the case. KATE: Okay, we'll leave the two of you alone. But Gibbs, won't so I'd get busy. DiNozzo! TONY: I'm investigating here. These letters speak to the suspect's state of mind. KATE: I've read them, and they're all pretty much the same. TONY: Well, I've only read two and if you think they're all the same, then we definitely need to talk, Kate. KATE: Well, twelve years of Catholic school says that ain't ever gonna happen. TONY: Do you still have the pleated skirt? ABBY: Get that. MCGEE: Yeah. So uh... what's going on? Gibbs just said to bring Laura Rowans' computer. He didn't say why. ABBY: We've got a cyber sex attempted mrder kll thing going on, McGee. MCGEE: Really? ABBY: Cool, huh? MCGEE: Yeah. CUT TO: INT. SQUAD ROOM - NIGHT TONY: Come on. KATE: Let's say Laura did invite Davison back to her house. TONY: Thank you. KATE: What would she gain from sh*ting him? TONY: Maybe he was blackmailing her. GIBBS: DiNozzo, he was lying on the floor with two bllts in him. She could have finished him off. Instead she dialed nine one one. KATE: Did she get cold feet? GIBBS: Or Davison decided to surprise her. Take it to the next step from fantasy to reality. KATE: Well, if they only communicated online, there is a possibility that she didn't even know what he looked like. TONY: So you're saying the whole thing might have been an accident? GIBBS: I don't believe in accidents. KATE: Or Davison could be your garden variety psycho. He latched on to Laura and he didn't want to let go. GIBBS: We're missing something here. MCGEE: And I think we found it, Boss. ABBY: Laura Rowans and Jeremy Davison were definitely in contact. MCGEE: We traced her email exchange back to the day they met online. ABBY: Four months ago on a little website called The Scarlet Secret. This is their homepage. TONY: I've got to get one of these. KATE: DiNozzo. TONY: I'm talking about the plasma screen, Kate. GIBBS: What is this? ABBY: Well, you know Friendster? Real people make webpages with personal profiles to connect to their friends online. MCGEE: And their friends lead to their friends and so on and so on. ABBY: Um... okay. Do you know what friends are, right? GIBBS: Abby. ABBY: Well, it's kind of like that only it's explicitly for sex. Male female preferences. Fetishes. And you follow the chain of pages and it should lead to somewhat anonymous cybersex or a real face-to-face meeting if you want. KATE: You're a member? MCGEE: No. No, she just created the page to look online. ABBY: I did a little trial and error with Laura Rowans' screen name, Home Alone three two five, and Jeremy Davison's Nice Guy six five three. Care to guess which fetish they have in common, Kate? KATE: Mm. No, no. I'm going to hell just listening to all of this. ABBY: rpe fantasies. CUT TO: INT. OBSERVATION ROOM - DAY KATE: What kind of a woman is into rpe fantasies? MCGEE: Actually, it's not that uncommon, Kate. KATE: Actually, it's sick and disturbing, McGee. TONY: I dated a girl once who used to wear my police uniform and make me call her Detective Sipowicz. KATE: What the hell's wrong with you? TONY: It wasn't my idea. Well, the police uniform part was. MCGEE: So how long's Gibbs going to make her sit there? TONY: It's called brewing, Probie. She's scared, nervous, imagining the worst. You've got to give it time to percolate. (DOOR CLOSES) CUT TO: INT. INTERROGATION ROOM - DAY LAURA: What's going on, Agent Gibbs? I thought you said I wasn't in any trouble. GIBBS: What makes you think you're in trouble? LAURA: I'm in an interrogation room. Did the man die? GIBBS: You mean Jeremy Davison? LAURA: Is that his name? GIBBS: One of them. He's still alive. Though you might know him better as Nice Guy six five three. LAURA: I have no idea what you're talking about. GIBBS: No? LAURA: Where did you get that? GIBBS: Off of Jeremy Davison's computer. LAURA: I... I don't understand. How? GIBBS: You sent it to him. LAURA: No, I sent this to my husband in Iraq. I told you I never saw that man before in my life! How could I send this to him!? GIBBS: You spend a lot of time on the internet... CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: ... Mrs. Rowans. LAURA: Why? What does that have to do with anything? GIBBS: It's an observation. Not a question. CUT TO: INT. INTERROGATION ROOM - DAY LAURA: Oh, my god. Do you think I wrote this? GIBBS: Tell me about The Scarlet Secret website. LAURA: Uh... GIBBS: Where discriminating adults go to play. Ring any bells? LAURA: It's not like that. GIBBS: You and Jeremy decided to have a little cyber fling. One of you decided to take it to the next level. I want to know which one. LAURA: I never cheated on my husband. I wouldn't. I... it was just supposed to be a game. GIBBS: Does this feel like a game, Mrs. Rowans? LAURA: Um...I uh... I... fooled around a couple times online, but I never gave anyone my name or my picture. It was harmless! It was just a fantasy! CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: This is sounding like attempted mrder! (DOOR OPENS) ABBY: I have to talk to Gibbs. MCGEE: Uh... you're going to have to wait because the last time I disturbed him in interrogation was the last time. ABBY: No, McGee, this is an emergency. We screwed up big time. CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: This is a copy of the email you sent Jeremy inviting him to your house Friday night. LAURA: I did not write that. I never talked to anyone named Mister Nice Guy. Agent Gibbs, I swear to you! GIBBS: We have your computer. You two were exchanging emails for months. KATE: (V.O./SPEAKER) Uh... Agent Gibbs, we need a word with you. CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: What?! KATE: Abby has something to tell you. ABBY: I was digging deeper into Laura Rowans' clusters, mostly the slack space. And the log file alignment - it was off. Not much, but enough. So I imaged the sectors and I found trace elements of vary -- GIBBS: English! ABBY: She's telling the truth, Gibbs. She didn't write those emails. GIBBS: Who did? ABBY: I don't know. I'm sorry. (MUSIC OUT) FADE IN: INT. SQUAD ROOM - DAY TONY: So she was set up? MCGEE: It's more like Jeremy Davison was set up. His computer wasn't tampered with. He thought he was communicating with Mrs. Rowans the entire time. KATE: And the reason for luring him onto a Marine base to rpe a Marine wife? TONY: Well, closest thing to a death sentence I can think of. GIBBS: Abby's lab now. CUT TO: INT. LAB - DAY ABBY: No dice, Gibbs. The hacker left no back trace on Laura Rowans' machine. MCGEE: But we can tell when he created the email trail. The files overwritten on her computer show that it happened right around the time she sht Jeremy Davison. ABBY: Like I said this guy's good. GIBBS: The guy's a dirtbag, Abby. I want him. MCGEE: Well, unfortunately we can't find him from here. We need access to The Scarlet Secret web servers. ABBY: And a warrant will take months. They have a rep for legally fighting any attempt to breach the privacy of their members. TONY: Can't you hack them? ABBY: It won't work, Tony. We need core-level access with full admin privileges to track this guy. MCGEE: Which means we'd have to be on the inside to do it. GIBBS: Find another way. KATE: Abby, can you pull up the home page for The Scarlet Secret? ABBY: Really? KATE: I thought I saw something that we could use. Okay, at the bottom here. Can you click on employment opportunities? MCGEE: Can we get a job there? KATE: Abby, click computer programming. MCGEE: (READS) We're looking for a computer programmer with experience in network protocols, IDS, firewalls, and ultra high speed network capabilities. Excellent communication skills, a professional attitude, and the desire to be challenged everyday is required. Bachelor degree's preferred. Must be able to start immediately. ABBY: Way to go, Kate. MCGEE: Oh, finally I get to do some undercover work. TONY: Yeah, that's not going to work. Probie's got cop written all over his face. I, on the other hand... KATE: He does have experience with cyber sex. GIBBS: Yeah, is that true, DiNozzo? TONY: I think what Kate meant to say was that I met a very nice girl online once. GIBBS: Yeah? What was her name? TONY: Her name's not that important. Hotjuggs twenty four, but I think she meant it as a metaphor. MCGEE: Boss, Tony could never pass as a computer programmer. KATE: So McGee goes. GIBBS: No. Not McGee. CUT TO: INT. THE SCARLET SECRET OFFICE VOICE: You make me really horny, baby. (MUSIC OVER ACTION/CAMERA PANS AROUND THE OFFICE) DEVON KANE: Well, you're certainly qualified and from the look of things, you'll fit right in around here. CUT TO: INT. MTAC ROOM - DAY DEVON KANE: (ON MONITOR) So uh... what do you think, Ms. Gibbs? ABBY: (ON MONITOR) Um... I...say... CUT TO: INT. THE SCARLET SECRET - DAY ABBY: When can I start, Mister Kane? DEVON KANE: You can call me Devon. ABBY: Right, Devon. OLDER WOMAN: (INTO PHONE) What am I wearing? How do you like fishnets, baby? DEVON KANE: You can start today. I have a question for you, though. Have you thought about modeling yourself? ABBY: Oh, I prefer the computer programming side of the business, Devon. CUT TO: INT. MTAC ROOM - DAY DEVON KANE: (ON MONITOR) Okay, well uh... should you change your mind we do offer naked tech support to a very select clientele. And uh... CUT TO: INT. THE SCARLET SECRET - DAY DEVON KANE: ... The pay's double. ABBY: That's very thoughtful. But um... I'll pass. DEVON KANE: Okay, great. Well, here's your work station. And um... I think that's it so... welcome to Scarlet Secrets. CUT TO: INT. MTAC ROOM - DAY GIBBS: Good work, Abby. (TO TONY) Go. Get Jeremy Davison's statement. I want the name of anybody he's had an altercation with in the past five years. TONY AND KATE: (IN UNISON) You got it. KATE: (ON MONITOR) I'm in, Gibbs. Is McGee there? MCGEE: Here, Abs. KATE: (ON MONITOR) Hi, McGee. MCGEE: Hey. Okay, open port six one eight on their firewall and I'll join you. KATE: (ON MONITOR) Done and done. MCGEE: Connected. GIBBS: How long is this going to take? MCGEE: Uh... there's a number of different variables. Code complexity, accuracy of the logs, the software... GIBBS: You've got one hour. MCGEE: Or one hour. CUT TO: INT. HOSPITAL ROOM - DAY JEREMY: S-So if it wasn't Laura I was talking to, w-who was it? KATE: Well that's what we're trying to find out, Mister Davison. JEREMY: No, I don't believe it. We talked about everything and it wasn't just about sex. S-She loved me. I-It can't be. TONY: At this point we're not even sure if she is a she. JEREMY: We exchanged hundreds of emails. Why would someone do that? KATE: You tell us. TONY: Is anyone holding a grudge against you, Mister Davison? KATE: Anyone who might know their way around a computer? JEREMY: No, I don't socialize much offline. I kind of s-stutter when I'm nervous. KATE: What about online? JEREMY: I said no! Maybe... maybe she didn't recognize me. Maybe it was just a mistake. I-If I talk to her, we... TONY: She's never even heard of you, Jeremy. Whoever you were talking to wasn't Laura Rowans. JEREMY: (CRIES) So none of it was real? The whole thing was just some s-s-sick joke? MICHELLE: Jeremy! Oh, God! Are you okay? Is this really necessary, Agent Todd? KATE: Not anymore. If you remember anything, Jeremy, anything that you think might help us... please call me. MICHELLE: It's going to be all right now, okay? It's going to be all right. CUT TO: INT. THE SCARLET SECRET - DAY ABBY: I got him. It's custom code. It matches the stuff on Laura's computer. CUT TO: INT. MTAC - DAY ABBY: (ON MONITOR) He's got hooks all over the system. MCGEE: I'm on it. Okay, he's using a router out of Fairfax. Tracing it back now. CUT TO: INT. THE SCARLET SECRET ABBY: Interesting. He left his name in an encrypted file. Zed Death Six. The guy's arrogant. He likes to sign his work. (TO GEEK) What? I talk to myself. You got a problem with that? CUT TO: INT. MTAC - DAY (DOOR OPENS) MCGEE: Got him! Name's Victor Grotinski. He's in Woodbridge, Virginia, off Davis Ford Road. Fifteen miles from Quantico. GIBBS: That's a good job, McGee. You get Abby back here. Coffee's for you. DiNozzo! TONY: Yeah, boss. GIBBS: Meet me at this address. CUT TO: EXT. BUILDING - DAY (SFX: CAR BRAKES TO A STOP) (MUSIC OVER ACTION/ ALL MOVE TOWARD THE BUILDING) CUT TO: INT. BUILDING - DAY (SFX: DOOR BURSTS OPEN) (MUSIC OVER ACTION/GIBBS/ KATE AND TONY MOVE DOWN THE STAIRS TO THE BASEMENT) GIBBS: (SHOUTS) NCIS! Federal agents! TONY: We have a warrant for your address! GIBBS: (SHOUTS) Hands in the air! TONY: Now! (TONY/ KATE AND GIBBS MOVE TOWARD THE BODY) TONY: That is... that is just nasty. KATE: Oh my god. (CUT TO BLACK) FADE IN: EXT. BUILDING - DAY (MUSIC OVER ACTION/ JIMMY WHEELS THE GURNEY FROM THE TRUCK) CUT TO: INT. BASEMENT - DAY GIBBS: You see anything interesting, Duck? DUCKY: Well, they say the eyes are the window to the soul. GIBBS: Yeah? Did they say anything about when he died? DUCKY: Perhaps. Have you found them yet? GIBBS: Nope. DUCKY: They took the optic nerve. Time of death... about eighteen hours ago. TONY: What do you think this is? MCGEE: He was slaving old systems together. He was jury-rigging his own super computer. TONY: I'm talking about this. MCGEE: Some kind of solvent? TONY: I don't think so. KATE: Oh, I wouldn't do that if I were you. TONY: You know what this is? (GURNEY BANGS DOWN THE STAIRCASE) TONY: Hey! JIMMY: Hi, guys. KATE: No, I don't. But considering there's no bathroom in this apartment... TONY: Uh... Probie, bag that. And why don't you check out those suspicious looking containers while you're at it. MCGEE: Oh. I think I'll throw up now. GIBBS: DiNozzo, find out what this operates. TONY: You got it. GIBBS: Kate, what do you think about Oedipus here? KATE: There's no obvious defensive wounds. Knew his attacker. GIBBS: Or he was surprised. Why take his eyes? KATE: Some kind of a message. DUCKY: Or a warning, Kate. Several South American tribes were known to ritualistically pluck the eyes of their enemies to discourage them being followed. Of course, they were cannibals so they did-- GIBBS: I don't think we're dealing with cannibals here, Duck. DUCKY: No, I should think not. We're not this far north. TONY: Kate, could you come here for a second? I need your help with something. (PASSAGE OF TIME) KATE: I had to wear a skirt today. TONY: Did you say something? KATE: You know, you realize what would happen if I dropped this Knfe, Tony? TONY: Yeah. I'm still deciding whether it's worth it or not. KATE: Now why would somebody hide a camcorder in a vent? TONY: You're kidding, right? Oh. You know, when this is over we really need to talk, Kate. You scare me. (SFX: MOANING ON TAPE) KATE: Eww! TONY: Oh. Eww! CUT TO: INT. NCIS LAB - DAY ABBY: Well, he certainly isn't going to win any awards for cinematography. And it didn't help that he was shting in almost no light. Okay, here's where it gets interesting.(SFX: MOANING ON TAPE) (SFX: MOANING ON TAPE B.G.) ABBY: She's a black widow. She klled him right after... that special moment. GIBBS: Any close-ups of her face? ABBY: One glimpse, but I mean it's a glimpse. It's digital, so I might be able to pull up more information. I'll do my best to pull up more information. I will pull out more information! GIBBS: Hey McGee. MCGEE: Yeah? GIBBS: I need to know who hired Grotinski to create the e-mail trail between Rowans and Davison. MCGEE: Well there's about a hundred and fifty gigabytes data on several hard drives. GIBBS: Only a hundred and fifty? Hell, that shouldn't take much time at all. (GIBBS WALKS O.S.) MCGEE: He has no idea what a gigabyte is, does he, Abby? ABBY: I don't even think he knows what a hard drive is, McGee. CUT TO: INT. SQUAD ROOM - DAY TONY: I mean, the policy they have at that beach isn't strictly nudist. WOMAN: Mm-hmm. TONY: It's more of like a... it's optional. WOMAN: Uh-huh. Yeah. TONY: Ooh! You changed. KATE: We're dealing with a sociopath here, Tony. TONY: Yeah, the missing eye part would be the dad giveaway, Kate. KATE: Who likes to manipulate people. The question is why Jeremy Davison and Laura Rowans? TONY: Two lonely people pouring their hearts out into cyberspace? KATE: Instead they find a psycho lurking on the Scarlet Secret website? TONY: Works for me. GIBBS: Not me. We're being played. KATE: By who, Gibbs? GIBBS: Kate, Grotinski was mrder by the woman on the tape. KATE: She hired him? GIBBS: I don't know yet.(SFX: DIAL TONE) TONY: We should bring Laura Rowans back for questioning. GIBBS: (INTO PHONE) Yeah Gibbs. On our way. (TO ALL) Let's go! Ducky's got something. CUT TO: INT. NCIS AUTOPSY ROOM - DAY DUCKY: To Abby please, Mister Palmer. JIMMY: Sure thing, Doctor. Uh... what is it exactly? DUCKY: Our young man was klled during coitus. That may be our black widow's DNA. You know, the Romans considered dying during the act of love to be a great honor, Mister Grotinski. GIBBS: Yeah? What would they think about videotaping it? DUCKY: From some of the murals I've seen in Pompeii, I think they'd rather enjoy it. TONY: That's an Italian thing, Ducky. We're passionate people, it runs in our... blood. KATE: The only thing running in your blood, Tony, is cholesterol. And possibly Chlamydia. TONY: It's curable. GIBBS: What have we got, Duck? DUCKY: Well, I sent some fluids up to Abby. The DNA may be our kller's. But what really interests me is the manner in which his throat was cut. The Knfe was inserted into the side of the neck and then ripped forward, severing both the arteries and the windpipe. Very professional. GIBBS: Yeah, and very familiar. Thanks, Duck. You track down Laura Rowans. Tell her we need to talk. TONY: Duck? DUCKY: Oh, it's the technique Marines are taught to kll enemy sentries. KATE: Her hubby taught her how to do a lot more than just sh*t. CUT TO: INT. NCIS LAB - DAY ABBY: I'm picking up some highlights on the baseball cap. GIBBS: No, that's not good enough. I need a face. How much longer, Abby? ABBY: Maybe an hour to filter. GIBBS: What about the fluid Ducky sent up? ABBY: I've isolated several female cells. I'm sequencing the DNA now. Like ten hours. MCGEE: You think that's Laura Rowans, Boss? GIBBS: Well, considering I've seen better pictures of a UFO, you tell me, McGee. CUT TO: INT. SQUAD ROOM - DAY KATE: (INTO PHONE) Check her home, if she's there, hold her, Sergeant. TONY: I talked to Laura's mother, Boss. She claims she hasn't seen her since yesterday and she's not answering her cell. KATE: She's not answering at home either. I have Sergeant Hegarty heading over there. GIBBS: You try the hospital? TONY: No, but if she's at the eyeball plucking stage? KATE: She might take another sht at Jeremy. GIBBS: We're going to Quantico. Let's roll. (SFX: PHONE RINGS) CUT TO: INT. NURSES' STATION - DAY (BEGIN TELEPHONE INTERCUTS) KIM: (INTO PHONE) I.C.U., Lieutenant Kim. TONY: (V.O./FILTERED) Hi, it's Tony. KIM: (INTO PHONE) Tony! I was hoping you'd call. TONY: (V.O./FILTERED) What's Jeremy Davison's condition? KIM: (INTO PHONE) Uh... resting comfortably. What's up? (SCENE CUT) TONY: (INTO PHONE) All right. If anyone comes to visit him, tell them he's been transferred to another hospital. (SCENE CUT) KIM: (INTO PHONE) Is there a problem, Tony? TONY: (V.O./FILTERED) No. No problem, Pam. (SCENE CUT) TONY: (INTO PHONE) We'll be on base in about fifteen minutes. Make that ten. KATE: Are you going to tell us what's up, Gibbs?(SFX: CELL PHONE RINGS) GIBBS: My gut. KATE: (INTO PHONE) Agent Todd. CUT TO: INT. KITCHEN - DAY HEGARTY: (INTO PHONE) We've got a serious situation here, Ma'am. CUT TO: INT. CAR - DAY HEGARTY: (V.O./FILTERED) Hands in the air! CUT TO: INT. KITCHEN - DAY HEGARTY: Now!(LAURA DROPS THE BAG OF GROCERIES) CUT TO: INT. CAR - MOVING KATE: Sergeant Hegarty has Laura Rowans in custody, Gibbs, and he also found Grotinski's eyes in her kitchen. TONY: She hired him to make it look like a third party set them both up? KATE: Yep, it's not a bad plan, it almost worked. GIBBS: Almost. CUT TO: INT. NCIS LAB - DAY MCGEE: Mrs. Rowans didn't seem like the mrder type to me. ABBY: The smart ones never do. (SFX: RAPID BEEP TONES) MCGEE: I thought you told Gibbs the DNA would take ten hours. ABBY: I did. This doesn't make any sense. I didn't even send it... oh, my god! CUT TO: INT. NURSES' STATION - DAY KIM: You have ten minutes, and make sure all your cell phones are off. (KIM WALKS O.S./ DOOR CLOSES) GIBBS: You'll be moved to a civilian hospital tomorrow, Mister Davison. MICHELLE: Finally. Any idea why this woman fixated on my brother? GIBBS: I was hoping he could tell me. MICHELLE: Jeremy? JEREMY: She wasn't happy but she wouldn't leave her husband. I was going to tell him about us. TONY: Well, you're lucky. We have her on tape slashing another guys' throat. JEREMY: You... you do?(SFX: BEEP TONES ACCELERATE) KATE: The picture's damaged, but once our lab cleans it up... TONY: We should be able to positively I.D. her. KATE: She won't be bothering you again, Mister Davison. JEREMY: I... I loved her. GIBBS: Let's go. (GIBBS/ TONY AND KATE WALK O.S.) (DOOR CLOSES) CUT TO: INT. LAB - DAY ABBY: Come on. Answer! Answer! Answer! Pick up, damn it. Pick up!(SFX: PHONE RINGS B.G.) MCGEE: If they're at the hospital they probably have their phones turned off, Abby. ABBY: We're about to let a mrder go free! CUT TO: INT. HOSPITAL ROOM - DAY MICHELLE: We have to take off, baby. CUT TO: INT. NCIS LAB - DAY ABBY: (INTO PHONE) I.C.U.! I need to speak to Special Agent Leroy Jethro Gibbs now! It's a matter of life and death! CUT TO: INT. HOSPITAL CORRIDOR - DAY (KIM RUSHES INTO THE ROOM) (DOOR BURSTS OPENS) MUSICAL BRIDGE TO: EXT. HOSPITAL ENTRANCE - DAY MICHELLE: Those first two Navy cops were dumb but their boss wasn't. Did you see the way he was looking at me? TONY: Hey! That sound harsh to you, Kate? KATE: Very. TONY: Go for it, honey. KATE: My first round's going through your right eye socket, lady. (SFX: CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) Don't you pick up your phone anymore! The DNA we ran on Jeremy Davison two days ago matches five open... (SCENE CUT) ABBY: (V.O./FILTERED) ...Investigations. He's a serial rpist and mrder. GIBBS: (INTO PHONE) We know. (SCENE CUT) ABBY: (INTO PHONE) And the woman that he's with is his accomplice. It's not his (bat) you know? (SCENE CUT) GIBBS: (INTO PHONE) I got it covered, Abby.(END TELEPHONE INTERCUTS) CUT TO: INT. LAB - DAY ABBY: They know. (bat) Did you know? MCGEE: No. ABBY: If I find out that you knew, I will k*ll you. CUT TO: INT. SQUAD ROOM - DAY KATE: I can't believe we almost let those two walk. And Davison wasn't even their real names. Grotinski created those identities for them. TONY: Yeah, it's amazing what you can do with computers these days, Kate. MCGEE: Sure is, Tony. Hey I've got a little something you might be interested in. TONY: Who is this supposed to be? MCGEE: I tracked down your cyber babe for you. Hotjuggs Twenty-four. GIBBS: Yeah, she's a real keeper, DiNozzo. KATE: I wonder if he wears a sports bra? (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x09 - Forced Entry"}	foreverdreaming
MUSIC IN: INT. PRISON VAN - MOVING DISPATCHER: (V.O./FILTERED) Transport three three four, we're hearing a tractor trailer flipped over on two ninety five. It's a parking lot. DRIVER: (INTO PHONE) Three thirty four, roger that. Tell the judge we're going to be a little while. We'll peel off at New Kent. I'll take King Williams to River Road. MARSHAL: No, just stay on Seventeen the whole way. DRIVER: (INTO RADIO) Yeah, wait one. My wife is giving me directions. MARSHAL: I don't want to take the damn scenic route. You've got all those stop lights in New Kent. (SFX: DRIVER SUFFERS HEART attck/ GASPS/ GROANS) DRIVER: I can't breathe...! MARSHAL: Just pull it over to the side. Richie...? Stop the bus!(SFX: BUS SCREECHES TO A STOP) MARSHAL: Richie, are you okay? (SFX: GATE OPENS) (SFX: TONY AS A PRISONER STRANGLES THE MARSHAL) TONY: Come on, let's get out of here! CUT TO: EXT. CLEARING - NIGHT (MUSIC OVER ACTION/TONY AS PRISONER AND JEFFREY RUN INTO THE CLEARING) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) MUSIC IN: EXT. HIGHWAY - DAY "CHAINED" (SFX: CAR BRAKES TO A STOP) GIBBS: How did it go? MARSHAL: Perfect. Didn't feel a thing. GIBBS: Did White seem to buy it? DRIVER: He bought it all right. He was scared. You could smell it. GIBBS: (INTO PHONE) Hey, Gibbs. VOICE: (FILTERED) Yeah, I'm calling about the VW convertible. GIBBS: (INTO PHONE) What? VOICE: (FILTERED) The ninety two VW for sale. How-- GIBBS: (INTO PHONE) You've got the wrong number. (TO KATE) Come on, Kate! We're moving! MARSHAL: See ya. CUT TO: INT. NCIS LAB - DAY ABBY: (INTO PHONE) Hello?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) You got him? (SCENE CUT) ABBY: (INTO PHONE) Are you honestly asking me that? (SCENE CUT) GIBBS: (INTO PHONE) No, Abs. I called to flirt. (SCENE CUT) ABBY: (INTO PHONE) You think I'd send our helpless boy out there in the world without knowing exactly where he is? (SCENE CUT) GIBBS: (INTO PHONE) Abby, go to video. I thought you said you had him. (SCENE CUT) ABBY: (INTO PHONE) The G.P.S. system has his position -- (SCENE CUT) ABBY: (ON MONITOR) ... Within four feet. You don't have him in your car? GIBBS: (INTO PHONE) No, Abby. I do not! (bat) Okay, I got him now. (SCENE CUT) ABBY: (INTO PHONE) You forgot to turn it on. (SCENE CUT) GIBBS: (INTO PHONE) Put McGee on. (SCENE CUT) ABBY: He wants you. MCGEE: How did he know I was here? ABBY: Because he's Gibbs. (SCENE CUT) MCGEE: (ON MONITOR) Uh yes, Boss? GIBBS: I got people calling me every five minutes asking if I have a VW for sale. (SCENE CUT) MCGEE: (INTO PHONE) A VW? (SCENE CUT) GIBBS: (INTO PHONE) It's a car, McGee. MCGEE: (ON MONITOR) Uh, no no no. I know. I just didn't know that you owned a VW. GIBBS: Do I seem like the kind of guy who would drive a squishy little car? (SCENE CUT) MCGEE: (INTO PHONE) No. You know it's probably a used car listing in the paper with the wrong number, that is unfortunately your number. (SCENE CUT) GIBBS: Do you think?! MCGEE: (ON MONITOR) You already figured that out. GIBBS: Fix it! (END TELEPHONE INTERCUTS) CUT TO: INT. NCIS LAB - DAY MCGEE: How does he want me to fix it? ABBY: You can't. You're doomed. So you'd better get back to the case. MCGEE: Okay. So where did you finally put the GPS? ABBY: I thought about subdermal implantation. MCGEE: Ah under the skin. ABBY: Yeah. Maybe in his neck. Tony wouldn't go for it. But I would have loved to have done that. MCGEE: Didn't consider a suppository? ABBY: I thought of it. Tony balked. MCGEE: Surprising. ABBY: Yeah. I put it in his shoe. It's really boring. CUT TO: EXT. WOODED AREA - DAY (ACTION CONTINUES: TONY AND JEFFREY RUNNING) JEFFREY: Wait. I can't... I can't keep going. TONY: Get up and run! Let's go! Hey! I just klled a guy back there. I am not getting caught. Let's get up and run. Move it! Let's go! JEFFREY: If you kll me, you're going to have to drag me. TONY: Okay, what's your name? JEFFREY: Jeffrey. TONY: I'm Tony. Did you ever see The Defiant Ones, Jeffrey? JEFFREY: What? TONY: The movie, The Defiant Ones, Tony Curtis, Sidney Poitier. JEFFREY: I think I'm having an asthma attck. TONY: That was a great movie. These two guys, right, a black guy and a white guy escape from a Southern chain gng. They're chained together just like we are. JEFFREY: We're not black. TONY: My grandmother was black. JEFFREY: Oh, okay. So what happens? TONY: They fight each other every step of the way. Tony Curtis has an infected wrist, a bllet in his shoulder. JEFFREY: Really? TONY: Yeah. He had guts. Guts, Jeffrey. He doesn't want to live in a cage. I don't want to live in a cage. So we're going to get up, Jeffrey. We're going to get up and we're going to get out of here. JEFFREY: Who's Tony Curtis? TONY: Who's Tony Curtis? You are. Let's go. (JEFFREY BANGS HIS HEAD ON THE TREE BRANCH AND FALLS TO THE GROUND) (JEFFREY MOANS) CUT TO: INT. SQUAD ROOM - DAY MTAC CONTROL: Where's Gibbs? MCGEE: Who needs to know? MTAC CONTROL: I'm the new senior MTAC Control Officer. Where is he? MCGEE: He is in the field. MTAC CONTROL: The Director's office called. In five minutes the Deputy Secretary of State, Anna Elliott... MCGEE: Wait a minute. Deputy Secretary of the United States? MTAC CONTROL: No. Norway. She's coming on in MTAC. She's going to be the State Department rep on the investigation. Get Gibbs fast! CUT TO: EXT. HIGHWAY - DAY (PHONE RINGS) (BEGIN TELEPHONE INTERCUTS) GIBBS: (INTO PHONE) I don't have a VW for sale! (SCENE CUT) MCGEE: (INTO PHONE) Yeah, I know, Boss. Switching to car feed. (SCENE CUT) MCGEE: (ON MONITOR) The Deputy Secretary of State is coming on in MTAC in five minutes and she wants to speak with you. GIBBS: Handle it, McGee. MCGEE: (ON MONITOR) Uh... excuse me? GIBBS: You are the highest ranking member of our team in the office. Deal with it. MCGEE: (ON MONITOR) Do you think that's a good idea? This is a very powerful and important gov-- (END TELEPHONE INTERCUTS) CUT TO: INT. SQUAD ROOM - DAY MCGEE: Boss? Boss. CUT TO: INT. MTAC ROOM - DAY (SFX: MCGEE CHEWS TABLETS) ELLIOT: (ON MONITOR) Agent Gibbs? MCGEE: Uh no. No, Ma'am. Agent Timothy McGee. ELLIOT: (ON MONITOR) Are you in charge of this investigation? MCGEE: Uh... at this moment here in NCIS headquarters, I am. Agent Gibbs is unreachable in the field. ELLIOT: (ON MONITOR) Okay. Give me the short version. MCGEE: Well uh... since the beginning of the wr, many very valuable Iraqi antiquities have been smuggled out of Iraq. (WHISPERS TO TECH) Roll it. (TO ELLIOTT) You should be seeing them on your screen now. FBI and Customs have seized many of these pieces in the U.S. They were collected and stored at Norfolk Naval Station for shipment back to Iraq. Many of these artifacts date back from the Sumarian period. They are about five thousand years old. ELLIOT: (ON MONITOR) Is this the short version? MCGEE: Yes. ELLIOT: (ON MONITOR) Shorter, faster, and let's skip the whole Sumarian Period. MCGEE: Okay. Okay. Uh... they were stolen by two civilian employees who were hired to crate them for shipment back to Iraq. ELLIOT: (ON MONITOR) And how many pieces were taken? MCGEE: Eighty seven. They were stolen in a large conex container roughly... eighteen hours ago. One of the thieves, Jeffrey White, picked up on a traffic violation minutes after an APB went out. He is in custody... sort of. Uh... the other is Lane Danielson. He's uh... he is at large with the conex box. ELLIOT: (ON MONITOR) What does that mean "in custody, sort of?" MCGEE: If the Iraqi antiquities are not recovered within forty eight hours, statistically they will probably be sold into private art collections and lost forever. ELLIOT: (ON MONITOR) Okay, I'll ask again. What does that mean, "in custody, sort of?" MCGEE: Sorry. Uh... Jeffrey... Jeffrey refused to talk so we let him get away with an undercover agent hoping that he would lead us to the conex box. ELLIOT: (ON MONITOR) You let the one that you had in custody escape? MCGEE: With an undercover NCIS agent, yes, Ma'am. (MCGEE SIGHS) (END TELEPHONE INTERCUTS) CUT TO: EXT. WOODS - DAY (SFX: TONY SMASHES THE CHAIN) TONY: They did this in The Defiant Ones. The chain represents the unbreakable bond between all men. Every scene in that movie is a metaphor. JEFFREY: You don't talk like a criminal. What'd you do? TONY: Okay, I didn't do anything. Let's get that crystal clear. I was landing my plane in Virginia Beach on my way back from the Dominican Republic. JEFFREY: You're a pilot? TONY: Yeah. I was flying in this rich couple. Customs found four keys of cocaine in the luggage. It was the rich couple's. I never saw it before. JEFFREY: I'm sorry. It's a tough break. TONY: Yeah. I was looking at twenty five to life. I wasn't going to let that happen. This isn't working. Oh, all right. We've got to keep moving. Are you ready to be Tony Curtis again? JEFFREY: Uh-huh. TONY: All right. Here we go. This way. That's it. That's it. You are Tony Curtis! CUT TO: INT. CAR - PARKED KATE: They're moving.(SFX: RAPID BEEP TONES) (SFX: CAR STARTS) CUT TO: EXT. CLEARING - DAY TONY: Oh yeah, baby! That's our ticket out of here. All right, let's find out if anybody's home. (JEFFREY AND TONY TUMBLE DOWN THE HILL INTO THE WATER) (SFX: JEFFREY SHRIEKS) TONY: Shh! Shh! JEFFREY: I guess... I guess no one's home, huh? They would have heard us, right? TONY: You figured that out yourself? You put that all together? JEFFREY: Hey Tony, was there anything like this... like in the water in The Defiant Ones? TONY: (LAUGHS) Yeah. Yeah, there was a scene where the two of them nearly drowned. But that was a river. JEFFREY: But this is a river. TONY: No, Jeffrey, it's not. No. This is not a river. You know what this is? It's a stream. And you can't drown in a stream, okay? You can get wet and you can get frickin' freezing, but you can't drown! JEFFREY: You look mad. W-Why are you mad? We survived. TONY: Surviving in two feet of water is not a heroic accomplishment. JEFFREY: It is when you have a phobia of drowning. You look cold. TONY: I am cold. Okay, let's see if we can get inside. MUSICAL BRIDGE TO: INT. CAR - DAY GIBBS: I lost him!(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) I lost him, too. (SCENE CUT) ABBY: (ON MONITOR) There's something wrong with the GPS. GIBBS: God!(END TELEPHONE INTERCUTS) (MUSIC OUT) FADE IN: INT. TRAILER - DAY TONY: The chicks are going to love you. JEFFREY: That'll be the day. TONY: Am I sensing a lack of confidence here? JEFFREY: Look at me. What have I got to be confident about? TONY: Hey! Pump a little iron, get a tan, contact lenses... caps, maybe a little plastic surgery and you'll be... fine. Oh, Jeffrey, it's our lucky day. CUT TO: INT. TRUCK - PARKED TONY: You know, you've only been with me four hours, Jeffrey. Do you realize how much your life has changed? You're out of prison. You've got new threads. You're riding in a tricked-out GMC Sierra. (SFX: TRUCK STARTS/DRIVES O.S.) CUT TO: INT. CAR - PARKED GIBBS: We got a signal from the truck. CUT TO: INT. NCIS LAB - DAY ABBY: We're back in business, Gibbs. Good call on the trailer. CUT TO: INT. CAR - PARKED KATE: Cash, clothes, and a car. Everything that Tony loves. GIBBS: Let's just hope he's not headed for Vegas. CUT TO: INT. TRUCK - MOVING JEFFREY: Would you slow down? TONY: If I got any slower, I'll be going backwards, Jeffrey. JEFFREY: This cuff is chaffing me. TONY: Well, maybe we can stop and get you some lotion. JEFFREY: Really? TONY: No! Not really, Jeffrey. We're criminals on the run. Criminals on the run don't stop and get lotion. JEFFREY: Right. TONY: Okay, listen. Just relax. I know some people down in Florida. We can drive down there. The problem is we can't stay in this truck forever. It's probably LoJacked. JEFFREY: I have a friend who could help us. He's near here. TONY: You have a friend near here? And you were going to tell me this when? JEFFREY: Sorry! I just thought of it. Let's find a payphone. ONSTAR VOICE: (V.O.) Onstar. How can we help you, Mister Reynolds? TONY: Hi. Yeah, we'd like to make a call. CUT TO: INT. NCIS LAB - DAY ONSTAR VOICE: (INTO PHONE) I'd be happy to place that call for you. What is the number? CUT TO: INT. TRUCK - MOVING TONY: Hold on a second - (to Jeffrey) Let's get out of these cuffs, Jeffrey. What's the number? Come on. (SFX: MOTOR CYCLE) JEFFREY: Watch out!(TONY SCREAMS) (MUSIC OVER ACTION/TRUCK CRASHES) CUT TO: INT. NCIS LAB - DAY ABBY: Gibbs, it sounds like Tony was in an accident! CUT TO: EXT. DIRT ROAD - DAY GIBBS: (V.O.) Got it, Abby. We're on it. CUT TO: INT. TRUCK - PARKED TONY: I wasn't going to ht him. I saw him the whole time. JEFFREY: I think I have a concussion. TONY: You didn't ht your head on anything. JEFFREY: The sticker says airbags can be fatal! TONY: For children! (SFX: ENGINE CRANKS) BIKER: Are you okay? TONY: Uh... yeah, we're cool. BIKER: I called nine one one. TONY: Kate! Oh, no. BIKER: Who's Kate? TONY: My dog. She must have jumped out. Kate! Kate! Come here, girl! (SFX: TONY WHISTLES) TONY: Oh, gosh. Ah! Ah! My leg! JEFFREY: Can you move it? BIKER: Wait here. I'll get her. What does she look like? TONY: A Shitzu. BIKER: A what? TONY: Long brown hair. Kind of mangy. (MUSIC OVER ACTION/TONY AND JEFFREY CLIMB FROM THE TRUCK) BIKER: (V.O.) Kate! Here, girl! Kate! Here girl! Kate! Kate! (TONY AND JEFFREY RUN TO THE MOTORCYCLE) TONY: Put your arm around. JEFFREY: What? TONY: Put them under, all right? (SFX: MOTOR CYCLE STARTS/ DRIVES O.S.) BIKER: Hey what are you doing? (PASSAGE OF TIME) (GIBBS BRAKES TO A STOP) BIKER: Hey! Hey hey! My bike was stolen. You've got to help me. KATE: Who stole it? BIKER: Two guys. The truck went off the road. I was helping find their dog. KATE: They had a dog? BIKER: A Shitzu named Kate. KATE: They had a dog named Kate? GIBBS: What's a Shitzu? KATE: It's a little annoying dog. Did they describe it? BIKER: Yeah, they said it had long brown hair. Kind of mangy. KATE: I'm going to sh*t him. GIBBS: How much gas did you have left in your tnk? BIKER: Almost nothing. A half gallon tops. GIBBS: Okay, let's go. BIKER: Hey, what about my bike? GIBBS: We're going to find it. BIKER: Great. That's great. What should I do? GIBBS: Find the dog.(SFX: CAR DRIVES O.S.) CUT TO: EXT. MOTORCYCLE - MOVING TONY: Loosen your grip! JEFFREY: What? TONY: I can't breathe! JEFFREY: My hand's numb. I can't move it. TONY: Stop it! JEFFREY: I'm going to fall off! TONY: You're not falling, Jeffrey. JEFFREY: I can't ride without hugging! TONY: Stop it! (V.O.) You and I are going to have a long talk after this, Jeffrey. CUT TO: INT. NCIS LAB - DAY ABBY: Come on, guys. Give me something to work with. Ah ha!(VIDEO FEED ON MONITOR B.G.) CUT TO: EXT. GAS STATION - DAY JEFFREY: (QUIETLY INTO PHONE) It happened on the way to arraignment. I had no choice. I was handcuffed! What was I supposed to do! Don't you sell that without me, Lane. Okay. I know! I'm sorry! (HANGS UP PHONE) JEFFREY: Lane is not happy you're with me. TONY: Well, we'll cut the chain, you'll never see me again. JEFFREY: Could you fly me and Lane out of the country? TONY: Tricky, Jeffrey. I'd have to fly below the radar. No transponder. Limited range. Won't be cheap. JEFFREY: I could come up with the money. It might make Lane like you. TONY: I don't need Lane to like me. If we get out of these cuffs, you can come with me if you want. Without Lane. JEFFREY: Thanks, but I can't. Hey, could I drive? I'm getting a cramp in this position. TONY: No. JEFFREY: You didn't even think about it. TONY: Well, you ran into a tree. Trust me you shouldn't be.... operating heavy machinery.(JEFFREY STRUGGLES TO GET ON THE BIKE) CUT TO: EXT. GAS STATION - DAY ATTENDANT: I haven't seen him. KATE: Well, here's our number if they come in. ATTENDANT: Sure. KATE: Thanks. (KATE AND GIBBS WALK TO THEIR CAR) GIBBS: What? KATE: You're worried. GIBBS: About what? KATE: Tony. You are. I can tell. GIBBS: I'm worried about the job, Kate. Don't confuse the two. (SFX: CELL PHONE RINGS) GIBBS: (INTO PHONE) I sold it! ELLIOT: (V.O.) Where is Special Agent Gibbs? CUT TO: INT. MTAC ROOM - DAY MCGEE: He's still in the field. ELLIOT: (ON MONITOR) Is he planning on coming back or am I doomed to speak to you for the duration of this investigation? MCGEE: Ma'am, he's searching for a missing agent. ELLIOT: (ON MONITOR) The agent chained to Jeffrey White? MCGEE: Yes. And when a fellow officer's in trouble... ELLIOT: (ON MONITOR) So, you lost the agent who is chained to Jeffrey White? MCGEE: Well, yes. ELLIOT: (ON MONITOR) Using the transitive property then, that leads me to the conclusion that NCIS has lost Jeffrey White. MCGEE: No. ELLIOT: (ON MONITOR) No? Then you have Jeffrey White in custody? MCGEE: Well, I... I... ELLIOT: (ON MONITOR) Call me the minute you find him....(bat) or whenever your mouth begins to work again. Whichever comes first. CUT TO: INT. LAB - DAY (MUSIC OVER ACTION/ ABBY FINGERPRINTS THE RAILING) CUT TO: EXT. CABIN - DAY TONY: (V.O.) I am not having this conversation with you, Jeffrey. For the three hundredth and final time. Just shut your pie hole. JEFFREY: (V.O.) Hey. Okay. Okay. (SFX: MOTORCYCLE BRAKES TO A STOP) TONY: Just wait! Wait! (DOOR OPENS) JEFFREY: Hey Lane. LANE: Hey. JEFFREY: This is Tony. TONY: How you doing? Okay. She's not as comfortable as she looks. Trust me. CUT TO: EXT. CLEARING - DAY (SFX: LANE HAMMERS METAL) LANE: You klled a Federal Marshal? TONY: I don't know that I klled him. LANE: You don't strike me the type that would kll a man. TONY: Sorry to disappoint you. LANE: Did Jeffrey tell you what we had going on? TONY: Ah, he just said that he wanted me to fly you out of the country. LANE: That's all? TONY: Yeah, that's all. LANE: Well, Jeffrey manipulates easy. TONY: Well, I'm not manipulating-- LANE: No?! TONY: No! You want me out of here, I'm gone. LANE: There's no need to rush off... unless you want to. TONY: Ha. CUT TO: INT. NCIS LAB - DAY ABBY: Gotcha. MCGEE: Their names didn't bring up any criminal records. ABBY: That's because this print doesn't match Lane Harrison or Jeffrey White. Meet Billy Collins. MCGEE: Oh, no. CUT TO: EXT. STREET - NIGHT (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. MCGEE: (V.O./FILTERED) We've got an I.D., Boss.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (INTO PHONE) Lane Harrison is an alias. He has done time for armed robbery and is wanted for three mrder in the Seattle area. (SCENE CUT) GIBBS: (INTO PHONE) What's his M.O.? ABBY: (ON MONITOR) According to the autopsy report... GIBBS: (INTO PHONE) Abby! (SCENE CUT) ABBY: (INTO PHONE) He's a regular Mac the Knfe, Gibbs. Their throats were cut from behind. (END TELEPHONE INTERCUTS) MUSICAL BRIDGE TO: INT. BEDROOM - NIGHT LANE: There's a bed. It'll help you sleep. TONY: Thanks. (MUSIC OVER ACTION/LANE WALKS OUTSIDE THE BEDROOM) (MUSIC OUT) FADE IN: EXT. NCIS BUILDING - DAY MCGEE: (V.O.) We now believe that Jeffrey White and Lane Danielson are not who they say they are. CUT TO: INT. MTAC ROOM - DAY MCGEE: We've linked them to several mrder. ELLIOT: (ON MONITOR) You put your agent with mrder. MCGEE: Yes, but we didn't know. ELLIOT: (ON MONITOR) And then you lost contact with your agent. MCGEE: Yes, but-- ELLIOT: (ON MONITOR) And you still have no idea where in the world he is. MCGEE: No, but-- ELLIOT: (ON MONITOR) Then you have no idea where the Iraqi antiquities are. MCGEE: Well, no. No, we don't. ELLIOT: (ON MONITOR) Not a clue. MCGEE: Not a clue. ELLIOT: (ON MONITOR) You ever worked at the post office, Agent McGee? MCGEE: No, Ma'am. ELLIOT: (ON MONITOR) Ever cleaned toilets at a federal campground? MCGEE: No, Ma'am. ELLIOT: (ON MONITOR) If these antiquities are not found immediately, you will not even be able to get those two federal government jobs. Am I clear? MUSICAL BRIDGE TO: EXT. GAS STATION - DAY KATE: He's leaving bread crumbs.(GIBBS DIALS THE PHONE) (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (INTO PHONE) McGee. (SCENE CUT) GIBBS: (INTO PHONE) Hey. Pull the records on a pay phone number for me. (SCENE CUT) MCGEE: (INTO PHONE) Ready. (SCENE CUT) GIBBS: (INTO PHONE) The number is... eight oh four. Five five five, zero one seven eight. (SCENE CUT) MCGEE: (INTO PHONE) Seven eight. Okay, got it. CUT TO: GIBBS: (INTO PHONE) Compare the numbers to the ones we have on Jeffrey White or Lane Harrison. Family, friends, anything. (SCENE CUT) MCGEE: (INTO PHONE) Uh... look, Boss. The Deputy Secretary of State - she keeps calling. She keeps thrat things. (SCENE CUT) GIBBS: (INTO PHONE) What kind of things? (SCENE CUT) MCGEE: (INTO PHONE) Not letting us clean toilets, other jobs like that. GIBBS: (V.O./FILTERED) Hey McGee. (SCENE CUT) GIBBS: (INTO PHONE) Calm down. (SCENE CUT) MCGEE: (INTO PHONE) Okay. Sorry. I'm calm now. (SCENE CUT) GIBBS: (INTO PHONE) Okay. I'm going to tell you how to handle this. (SCENE CUT) GIBBS: (V.O./FILTERED) Next time she calls... (SCENE CUT) GIBBS: (INTO PHONE) ... You give her two words from the bottom of your heart. (SCENE CUT) MCGEE: (INTO PHONE) Two words. (SCENE CUT) GIBBS: (INTO PHONE) Stick it! (SCENE CUT) MCGEE: (INTO PHONE) Stick it? (SCENE CUT) MCGEE: (V.O./FILTERED) I'm not sure that I can-- (END TELEPHONE INTERCUTS) CUT TO: INT. BEDROOM - DAY JEFFREY: Good morning. What's the matter? TONY: I'm not used to waking up this close to a man's face, Jeffrey. JEFFREY: We've got to get out of here. Lane took off. TONY: Where'd he go? JEFFREY: Last night we fought. Over you. TONY: Really don't like the way that sounds, Jeffrey. JEFFREY: He wanted to get rid of you. I wouldn't let him. TONY: Oh, now that sounds good. JEFFREY: You've been decent to me. Not a lot of people have. TONY: Where did he go? JEFFREY: I'm going to lay it out for you. TONY: All right. JEFFREY: I'm about to make a lot of money. But I need a partner. TONY: Talk to me. JEFFREY: Lane and me stole some stuff. Very valuable stuff. TONY: I kind of figured that. Was it drugs? JEFFREY: Stuff from Iraq. Like from a hundred thousand years ago. TONY: There were no people then, Jeffrey. JEFFREY: Whatever. It's old. We got it off this Navy base we were working at. TONY: What's it worth? JEFFREY: Three million. TONY: You kidding? JEFFREY: We got a buyer. This guy from Japan. The stuff's going to be on a ship to Tokyo tonight. TONY: So when do you get the money? JEFFREY: Eight hours. TONY: Okay. Lane took off to sell it out from under you, didn't he? JEFFREY: We've got to get to those buyers before he does. TONY: Where's the stuff? JEFFREY: Someplace safe. You with me? (bat) I can't face Lane alone. TONY: (LONG bat) I'm with you. MUSICAL BRIDGE TO: INT. CAR - PARKED KATE: Let's break the pattern. GIBBS: What pattern? KATE: Dishonest silence pattern. I'll start. I'm worried for Tony. There. I said it. I dropped my guard for two seconds. I got it out. And now I'm happy. GIBBS: That made you happy? KATE: Yes. Don't you want to be happy, Gibbs? GIBBS: I am happy. KATE: You don't look happy. (PHONE RINGS) GIBBS: We're done with this. KATE: I thought we were. GIBBS: (INTO PHONE) Yeah, McGee. MCGEE: (V.O./FILTERED) Switch to car feed. (ON MONITOR) Boss, I got the list of numbers dialed from the pay phone. One was placed to a hunting cabin outside of Richmond. It was the only phone call made from that pay phone all afternoon. (V.O.) I'm feeding you the GPS coordinates now.(SFX: BEEP TONE) (SFX: CAR DRIVES O.S.) (SFX: TIRES SCREECH) CUT TO: INT. LIVING ROOM - DAY JEFFREY: How soon can you get the plane? TONY: Well, I know a guy that can arrange a charter to Key West. From there we can get a King Air Three fifty, twin engine. That'll get us to Mexico. JEFFREY: I'm glad Lane took off. We're going to make a good team. We better get going. CUT TO: EXT. CABIN - DAY (DOOR OPENS) TONY: Lane took the bike! JEFFREY: He must have pushed it down the road. He didn't want us to wake up when he started it. (CAR DOORS OPEN/CLOSE) CUT TO: INT. CAR - DAY JEFFREY: My father used to have a cabin like this. He used to bring me and my sister here. TONY: Good times? JEFFREY: He used to bat the crap out of me. Your parents are supposed to help you, Tony. Not hurt you. Your father hurt you? TONY: No, he was too drunk to hurt anyone. JEFFREY: I hate it here. TONY: Then let's get out of here, make us some money. JEFFREY: Hell yeah! Let's go make us lots of money! MUSICAL BRIDGE TO: INT. MTAC - DAY ELLIOT: (ON MONITOR) Either I speak to Agent Gibbs and get a full accounting of this investigation, or I've been authorized to pull NCIS from the investigation and put it under the FBI's jurisdiction. MCGEE: You're getting in the way. ELLIOT: (ON MONITOR) Excuse me, Agent McGee? MCGEE: We are working very hard. We have an undercover agent who is missing. He's risking his life. And your constant interruptions are keeping me from doing my job. ELLIOT: (ON MONITOR) You lost your prisoners! You lost your agent! MCGEE: That is not true. ELLIOT: (ON MONITOR) That's what you told me. MCGEE: Look, the truth is that while Agent DiNozzo is lost, Jeffrey White is still with him. So Jeffrey White, technically, is with an NCIS agent. And therefore, technically is still in custody. ELLIOT: (ON MONITOR) Well, you've clearly been empowered to tell me off. MCGEE: Yes, Ma'am. ELLIOT: (ON MONITOR) And what, exactly, did Agent Gibbs tell you to say to me? MCGEE: He told me to tell you to... stick it. ELLIOT: (ON MONITOR) You're telling me to... MCGEE: Stick it! Thank you, Ms. Deputy Secretary of State. Our conversation is now over. (END TRANSMISSION) (APPLAUSE) CUT TO: EXT. DIRT ROAD - DAY (MUSIC OVER ACTION/CAR BRAKES TO A STOP) (GIBBS AND KATE APPROACH THE CABIN) CUT TO: INT. CABIN - DAY (SFX: DOOR BURSTS OPEN) (MUSIC OVER ACTION) KATE: Clear. GIBBS: Clear! KATE: We're too late. GIBBS: Search it. (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. (SFX: TELEPHONE BEEP TONES) MCGEE: (V.O./FILTERED) Special Agent McGee speaking. GIBBS: (INTO PHONE) Hey, McGee. MCGEE: (V.O./FILTERED) Yes, Boss? GIBBS: (INTO PHONE) I want you to run...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (V.O./FILTERED) ...the phone records for a land line at the cabin. MCGEE: (INTO PHONE) On it. Oh, and uh... (SCENE CUT) MCGEE: (V.O./FILTERED) ...Boss, I told her. (SCENE CUT) MCGEE: (INTO PHONE) Deputy Secretary of State. (SCENE CUT) GIBBS: (INTO PHONE) Yeah? How did it work? (SCENE CUT) MCGEE: (INTO PHONE) Well, she submitted a formal complaint to the Director. GIBBS: (V.O./FILTERED) McGee! (SCENE CUT) GIBBS: (INTO PHONE) Good job! (SFX: DIAL TONE) (END TELEPHONE INTERCUTS) KATE: (V.O.) Gibbs! CUT TO: INT. BATHROOM - DAY (MUSIC OVER ACTION/KATE AND GIBBS LOOK AT THE BLOODY CLOTH) MUSICAL BRIDGE TO: EXT. CABIN - DAY (GIBBS UNCOVERS THE MOTORCYCLE) KATE: Over here! GIBBS: Throat's slashed to the spine. KATE: Lane Harrison didn't kll those two guys in Seattle. GIBBS: Jeffrey White did it. KATE: Tony has no idea who he's with, Gibbs. (MUSIC OUT) MUSIC IN: EXT. CABIN - DAY DUCKY: Wasn't much of a struggle. Only these abrasions on his cheek. The head was grabbed from behind and immobilized. And with the other hand... GIBBS: Came around and cut across the throat. DUCKY: From the look of things he was experienced in this manner of execution, Jethro. KATE: We think he's responsible for three of the mrder. Same M.O. DUCKY: And Tony's with the bastard? Is he aware? KATE: Probably not. We have to think Tony didn't know anything about this. He would have never allowed it to happen. DUCKY: Unless... GIBBS: We checked the rest of the area. No other bodies. Tony's still alive. (PHONE RINGS) DUCKY: (READS) "Lynchburg across from Wal-Mart." Mean anything? GIBBS: (INTO PHONE) Yeah, Gibbs. (PHONE RINGS) GIBBS: (INTO PHONE) I do not have a VW! MCGEE: (V.O./FILTERED) Still getting the calls...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (INTO PHONE) ...Huh, Boss? (SCENE CUT) GIBBS: (INTO PHONE) What do you got, McGee? MCGEE: (V.O./FILTERED) Well, I have the local... (SCENE CUT) MCGEE: (INTO PHONE) ...Message units dialed from the cabin. Nothing there. (SCENE CUT) GIBBS: (INTO PHONE) Long distance? (SCENE CUT) MCGEE: (INTO PHONE) The exchange has mechanical switches, so it's going to take some time. (SCENE CUT) GIBBS: (INTO PHONE) They may be headed to Lynchburg to make the sale. (SCENE CUT) GIBBS: (V.O./FILTERED) I need the location of all Wal-Marts in the area. (SCENE CUT) GIBBS: (INTO PHONE) Fast! (SCENE CUT) MCGEE: (INTO PHONE) On it! (END TELEPHONE INTERCUTS) CUT TO: INT. CAR - DAY (CAR BRAKES TO A STOP) TONY: What are we doing? JEFFREY: We're pulling over. TONY: But we don't want Lane showing up first. We should get to the buyer. JEFFREY: We've got time. I'm going to take a little nap. TONY: Do you want me to drive while you sleep? JEFFREY: You think we ought to keep moving? TONY: I do. JEFFREY: You got my back, Tony? TONY: You know it. JEFFREY: You know, it feelslike I've been running my whole life just to get to this moment. Finally doing something right. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY MCGEE: (INTO PHONE) Found the Wal-Mart! There's a storage facility across the street with conex boxes in the parking lot. CUT TO: EXT. CABIN - DAY GIBBS: (INTO PHONE) Call the local LEOs. Make sure they understand there's a federal agent working under cover. MCGEE: (V.O./FILTERED) You got it! CUT TO: EXT. STORAGE FACILITY - DAY (MUSIC OVER ACTION/LAW ENFORCEMENT OFFICERS CUT OPEN LOCKED CONEX BOXES) (DOORS OPEN) CUT TO: INT. SQUAD ROOM - DAY MCGEE: (INTO PHONE) Nothing in the conex boxes.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) What about the long distance records on the cabin? (SCENE CUT) MCGEE: (INTO PHONE) Working on it, Boss. (SCENE CUT) GIBBS: (INTO PHONE) Work faster. (END TELEPHONE INTERCUTS) GIBBS: It was a misdirect. He knew that we would search the body. KATE: What do we do? (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. (TELEPHONE BEEP TONES) GIBBS: God. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY (PHONE RINGS) MCGEE: (INTO PHONE) McGee.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Hey, McGee! (SCENE CUT) GIBBS: (V.O./FILTERED) Listen up! MCGEE: (INTO PHONE) Boss, it's only been like ten seconds. I know I'm good but I'm not that... (SCENE CUT) MCGEE: (V.O./FILTERED) ... Good. GIBBS: (INTO PHONE) I just had a hang-up. Check the last incoming call on my cell... (SCENE CUT) GIBBS: (V.O./FILTERED) ...and have Abby run a ... (SCENE CUT) GIBBS: (INTO PHONE) ... GPS location. (SCENE CUT) MCGEE: (INTO PHONE) This isn't about the VW, is it? GIBBS: (V.O./FILTERED) No! (SCENE CUT) GIBBS: (INTO PHONE) It's where DiNozzo is.(END TELEPHONE INTERCUTS) MUSICAL BRIDGE TO: INT. NCIS LAB - DAY ABBY: (V.O.) It's Lane Harrison's cell phone. (ON CAMERA) Highway Fourteen just past Newport News, Virginia.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Stay on the phone and guide us there! (SFX: KATE SHRIEKS) ABBY: (ON MONITOR) Are you all right? KATE: Gibbs is driving. ABBY: (ON MONITOR) I'm sending a prayer in many languages.(END TELEPHONE INTERCUTS) CUT TO: INT. TONY'S CAR - MOVING JEFFREY: How are we doing? TONY: You scared the hell out of me. JEFFREY: That's part of my charm. CUT TO: INT. GIBBS' CAR - MOVING (PHONE RINGS) KATE: Tony. GIBBS: Tony. CUT TO: INT. NCIS LAB - DAY ABBY: He's coming down Fourteenth, headed for the west side. CUT TO: INT. TONY'S CAR - MOVING JEFFREY: Take a right. (CELL PHONE BEEP TONE) TONY: What the hell is that? JEFFREY: It's in my bag. I thought I turned it off. (SFX: CELL PHONE BEEP TONE) TONY: Battery's d*ad. JEFFREY: Well turn it off. They can trace a cell phone.(SFX: CELL PHONE BEEP TONE) TONY: Off. CUT TO: INT. NCIS LAB - DAY ABBY: I lost the signal! CUT TO: INT. TONY'S CAR - PARKED JEFFREY: Nine three oh six eight five seven. That's her. History of the world in a box. TONY: I don't see Lane. JEFFREY: I always wanted to scuba dive. I'm going to scuba dive. What do you think of that? TONY: Well, you can't swim, Jeffrey. JEFFREY: There's that, yeah. But you can teach me. (SFX: CAR BRAKES TO A STOP B.G.) JEFFREY: That's him. Now you're going to watch my back. I'm going to go get the cash. Then we're going to get out of here. You ready? TONY: I want you to listen to me, Jeffrey. JEFFREY: Okay. TONY: I'm a Federal agent. JEFFREY: (LAUGHS) Good one, Tony. TONY: Naval Criminal Investigative Service. JEFFREY: Don't say that. TONY: I wish I didn't have to. CUT TO: INT. GIBBS' CAR - MOVING KATE: I need the long distance numbers from the cabin, McGee! MCGEE: (ON MONITOR) Working on them! GIBBS: I never lost an agent undercover, Kate. I am not about to let DiNozzo screw that up. MUSICAL BRIDGE TO: INT. TONY'S CAR - DAY (SFX: CAR DOOR OPENS/ CLOSES) TONY: Everyone's going to know you wanted to turn yourself in, that you drove me here voluntarily. You testify against Lane, they're going to cut you a deal. JEFFREY: What do I do? TONY: Okay, you sit tight. I'll arrest the buyer. Then we call my boss and he'll pick us up. JEFFREY: Okay. MUSICAL BRIDGE TO: INT. NCIS LAB - DAY MCGEE: (INTO PHONE) One call. Doctor Haru Owagawa. CUT TO: INT. GIBBS' CAR - MOVING MCGEE: (ON MONITOR) PhD in Art History at G.W. KATE: That's got to be the buyer. We need a GPS location on his cell. ABBY: (ON MONITOR) Twelve blocks from your location. Head due west. CUT TO: INT. TONY'S CAR - DAY JEFFREY: I know you don't have any backup, Tony. TONY: How do you know that, Jeffrey? JEFFREY: I thought you might be a cop. That's why we took that swim in the stream. That's why I crashed the truck. No bugs. TONY: There's a reason Lane isn't here, isn't there? JEFFREY: You're having naughty thoughts, Tony. Just so you know... when I said no one ever treated me like you did, I meant that. TONY: I know. CUT TO: INT. PARKING LOT - DAY (SFX: TIRES SCREECH /CARS BRAKE TO A STOP) KATE: Step away from your car! Hands in the air! (GIBBS MOVES TOWARD TONY'S CAR) (CAR DOOR OPENS) TONY: I really liked him. GIBBS: Yeah. Yeah, I can see that. (MUSIC OVER ENDING CREDITS AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x10 - Chained"}	foreverdreaming
FADE IN: EXT. MOUNTAIN ROAD - NIGHT (MUSIC OVER ACTION/CAR SPEEDS ALONG THE ROAD AND INTO THE WATER) (SFX: HUGE SPLASH) CUT TO: UNDERWATER - NIGHT (MUSIC OVER ACTION/CAR SINKS TO THE LAKE FLOOR) (FADE OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY (SFX: CELL PHONE RINGS) TONY: No, for the twenty third time. "BLACK WATER" (SFX: CELL PHONE RINGS) KATE: Are you going to answer that? TONY: I'm in hell, Kate. KATE: Well, do they have money there? Because you owe me... forty three dollars and eighty six cents for lunch this week. TONY: I will gladly pay you today if you'll answer this call for me. KATE: Yeah? Who is it? TONY: Crazy ex-girlfriend. Haven't seen her since college. KATE: Stalker? TONY: More like a stalk-him. KATE: What do you want me to say to her? TONY: I don't know. Tell her you're my wife or something. She's been calling nonstop for two days. So I'm begging you here, Kate. Please. KATE: You pay me back today. TONY: Sure. KATE: (INTO PHONE) Hello? Me? Oh, I am Tony's wife. Uh, yes. We got married a few years ago. (WHISPERS TO TONY) We have kids? (INTO PHONE) Two. Yes. And we're very, very happy. So please don't call back again. (TO TONY) I feel like I need a shower. (HANGS UP PHONE) TONY: Pay the lady, Probie. MCGEE: He bet me forty dollars he could get you to say you're his wife today. KATE: Tony, I'm going to kll you. GIBBS: DiNozzo, pull the case file on Lieutenant Brian McAllister. TONY: McAllister? We going after more treasure hunters, boss? MCGEE: Treasure hunters? TONY: Before your time, Probie. McAllister disappeared two years ago. His family offered a million dollar reward to anyone who could find him. KATE: I had a few friends in the Secret Service who used to work that case on the weekends. TONY: It was the Holy Grail for every amateur detective on the East coast, Kate. MCGEE: So what happened? TONY: Nothing - cold case. GIBBS: Not anymore. CINDY AMES: (ON TV) Thousands have searched for the heir to the McAllister Industries' fortune. Each hoping to collect the one million dollar reward offered by his famous family. Today, private investigator Monroe Cooper believes he's one step closer to solving the mystery. Mister Cooper, is it true that you have finally found Brian McAllister? (SFX: TV CLICKS OFF) MCGEE: Whoa. Whoa. Boss, that was... that was Monroe Cooper! The man who can solve the unsolvable. He's a... a famous detective. GIBBS: Do I look like I care, McGee? MCGEE: No. GIBBS: Grab your gear. We're going to Black Lake. CUT TO: INT. VAN - MOVING KATE: Lieutenant Brian McAllister, graduated Annapolis in ninety-seven, third in his class. He vanished somewhere between October fourth and the seventh, two thousand and two. No leads. TONY: Thing I don't get is why a guy worth millions would join the military in the first place. GIBBS: You think money has anything to do with patriotism, DiNozzo? TONY: No, I'm just saying if I were rich, you know, I would do nothing. KATE: I thought your parents were loaded. TONY: They are. KATE: So why do you work for the government then? GIBBS: Because they know what their son would do with the money. TONY: I can't even get an advance on the will, Kate. GIBBS: Hey, McGee! MCGEE: Yeah, boss? GIBBS: What about that private dick, Cooper? MCGEE: Yeah. Uh... he's a former NYPD detective, works mostly for insurance companies and celebrities now. He makes a lot of money solving cases like this. Guy's a... he's kind of a cross between Columbo and Sherlock Holmes. (SFX: VAN HITS A POTHOLE) KATE: You know, we really should get a seat belt back there. Hey! What the hell are you doing? TONY: I'm looking for my fork. KATE: Well I can guarantee you...it is not there! CUT TO: EXT. BLACK LAKE - DAY GIBBS: Tony, grab the gear. See if McGee's still alive. TONY: On it, Boss. GIBBS: Special Agent Gibbs, Todd, NCIS. LESTER: We've been waiting for you to show up. Sheriff Deke Lester. That detective fella, Cooper, he thinks that missing McAllister kid's in there somewhere. GIBBS: Yeah. Is he? LESTER: I can't say, but my divers found a Chrysler convertible sitting on the bottom. KATE: Lieutenant McAllister owned a Chrysler convertible. Disappeared with him, Gibbs. LESTER: I'm fixing to pull it out. Once we ID the vehicle we can decide on who's got jurisdiction. GIBBS: Works for me, Sheriff. Where is Cooper? LESTER: I don't rightly know. I imagine he's off detecting or something. RADIO: (V.O./FILTERED) Hey Deke, we've got the chains set here. LESTER: Let's haul her up. RADIO: (V.O./FILTERED) Yes, Sir. LESTER: You ready to see what we caught, Agent Gibbs? CUT TO: EXT. TRUCK - DAY TONY: Hurry it up, Probie. MCGEE: You sure this is necessary? I kind of feel like a dork. TONY: You are a dork. No no no no. Bad move. MCGEE: What? TONY: If Gibbs catches you reading instead of working, you're history. MCGEE: It's not for reading. I'm hoping I can get Detective Cooper to sign it. The lead character in the book is based on him. TONY: "Celebrity P.I.?" Never heard of it. No! MCGEE: I'm not surprised you haven't heard of it. There's no pictures in it. TONY: Did you say something, Probie? MCGEE: Yeah. I'm not a dork. TONY: Whatever you say, Sponge Bob. (SFX: HOIST) LESTER: Take it slow now, Charlie! TONY: I think it's safe to say that car's not going to run again. LESTER: All right, hold it right there. GIBBS: All right, Kate. KATE: The Lieutenant's tags, Gibbs. LESTER: Congratulations, looks like you found your missing sailor. GIBBS: Not yet. COOPER: I think you'll find that pile of bones is McAllister, Special Agent... GIBBS: Gibbs. And I'll wait for my M.E. to determine that. COOPER: Oh of course. Monroe Cooper. GIBBS: (READS) The man who solves the unsolvable. COOPER: So you've heard of me? GIBBS: No. It's on your card. COOPER: My publicist's idea. Works great with the yokels. GIBBS: How'd you track this vehicle to Black Lake? COOPER: Leg work. Luck. My gut. GIBBS: Does it say that on your card, too? COOPER: I have a policy, Agent Gibbs. You share information with me, and I share it with you. We have a deal? GIBBS: That kind of goes against my policy, Cooper. COOPER: Which is? GIBBS: Throw people in jail who obstruct my investigations. COOPER: Uh-huh. I'll try to keep that in mind. MUSICAL BRIDGE TO: INT. NCIS AUTOPSY ROOM - NIGHT DUCKY: Well the dental records are conclusive, Jethro. This is our missing Lieutenant. GIBBS: Any idea how he died? DUCKY: After two years in the water? Difficult to say. Do you suspect foul play? GIBBS: Oh, you know me, Duck. I suspect everything. DUCKY: Yes, an admirable trait in an investigator. And also the reason your three marriages ended in divorce. GIBBS: Oh yeah? All these years I thought it was because I was a bastard. DUCKY: Well, of course, that didn't help. There is evidence of hairline fracture on the frontal lobe of the skull. GIBBS: Cause? DUCKY: Well, it's consistent with most vehicle accidents, possibly from contact with the steering column. GIBBS: What about drugs? DUCKY: Well, in this state, a toxicological screen would be useless. However, drugs are a possibility. GIBBS: Too many of those, Duck. Too many. DUCKY: Well, my current opinion is that Lieutenant McAllister met with a tragic accident. Most likely he drowned. GIBBS: Keep looking. (SFX: DOORS SLIDE OPEN/ CLOSED) DUCKY: Your last boy, Yurich. JIMMY: Did you meet any of his wives? DUCKY: I introduced him to the last one. JIMMY: Really? What went wrong? DUCKY: It's difficult to say, Mister Palmer. She doesn't talk to me anymore. CUT TO: INT. NCIS GARAGE - DAY TONY: (LAUGHS LIGHTLY) You know what movie this reminds me of, Kate? KATE: The Wizard of Oz? ABBY: I'll get you, my pretty! TONY: No. I meant the one they make you watch in high school. Thirty minutes of cops pulling dad teenagers out of car wrecks. ABBY: Oh, my god! I love those! Blood on the Highway. Drink, Drive, Die! I keep hoping they're going to release them on DVD. TONY: Yeah, me too. ABBY: Yeah. (SFX: DOORS SLIDE OPEN) GIBBS: What do we have? TONY: Ah hey boss. I found a suitcase in back. Looks like he packed enough for about a weekend. Dive team will be back with the stuff from the debris field in a few hours. GIBBS: Abs? ABBY: The brake lines are corroded, but they're intact. Something's stuck. Whoa. Hey, Kate. I've got a present for you. I think it's one of your ex-boyfriends. TONY: It's a cold fish! Get it, Kate? MCGEE: I don't think this was an accident. It's a bllet. GIBBS: McAllister was mrder. (FADE OUT) MUSIC IN: INT. LAB - DAY (SFX: MUSIC PLAYS LOUDLY B.G.) (MUSIC CLICKS OFF) GIBBS: Your speakers are broken. ABBY: Oh, Gibbs. That was the best part of the song. GIBBS: Correction. Your ears are broken. What did the divers find? ABBY: Actually, it's more like what didn't they find. My theory is they're getting paid by the piece. They recovered everything within a twenty meter radius of the vehicle. Sunglasses, golfballs, Rick James eight-track, typewriter. I didn't see any point in bringing the Maytag up from the evidence lockup. GIBBS: Anything to do with the case? ABBY: As a matter of fact, found directly beneath the vehicle... can you hear me now? I might be able to recover some data from the memory chip. GIBBS: What about the bllet we brought up from the wreck last night? ABBY: Forty five caliber, two hundred and thirty grain hardball. Lots and lots of stopping power. The grooving matches a Colt forty-five, old-school military version. GIBBS: Did you work up a trajectory, yet? ABBY: Of course. The bllet's entry angle into the side of the door is obvious as Anna Nicole's implants. GIBBS: Who? ABBY: You know, married that old guy? Had a TV show? Got fat, got thin, got fat, got thin, fat, thin-- GIBBS: Stop! ABBY: So using that angle, I back-traced the trajectory. The bllet traveled on this path. So unless he was driving with his feet from the backseat, which is something that I have tried but do not recommend... GIBBS: Abby? ABBY: The round had to have gone through McAllister's body. CUT TO: INT. LAB - DAY DUCKY: It's entirely possible, Jethro, but if Abby's animation is correct, the bllet passed clean through the thoracic cavity. Unfortunately, without leaving any evidence of its passing. GIBBS: Hell of a sht. DUCKY: Yeah. GIBBS: The vehicle had to be going over seventy to end up where we found it in the lake. DUCKY: Well, at that speed a bllet passing through the ribcage without so much as glancing a single bone... huh! A hell of a sht, indeed. GIBBS: More like impossible. Thank you, Duck. (SFX: DOORS SLIDE OPEN) JIMMY: Doctor? DUCKY: He means the vehicle was stationary when Lieutenant McAllister was sht, Mister Palmer. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY KATE: (V.O.) Lieutenant McAllister was last seen in Norfolk on a Friday. Then found three hundred miles away in Black Lake, Virginia. (ON CAMERA) Which would make sense if he was heading here to the McAllister Family compound in Shenandoah. MCGEE: So he was heading home for the weekend? KATE: Another twenty miles and he would have made it, McGee. GIBBS: DiNozzo? TONY: TONY: McAllister's military records are spotless, Boss. Been running background on his family. Mother died in ninety three. Father passed away in two thousand two... three months after the Lieutenant disappeared. The only surviving next of kin is this guy. Thomas McAllister, his younger brother. (CONT.) Washed out of Annapolis freshman year. Arrested a bunch of times for suspected DWI and marijuana possession. Never convicted. KATE: Figures, the rich never are. TONY: Even richer now, Kate. He inherited everything. He's currently the CEO of his own airline. MCGEE: The Good Son and the Bad Seed. KATE: Very Biblical. TONY: The Navy notified him last night about his brother. CACO said he took it pretty well. NCIS WORKER: Lunch! KATE: Oh, thank you. I took the liberty of ordering lunch today. Something healthy for once. There you are. They're tofu veggie wraps. They're good, Tony. Abby and I eat them all the time. GIBBS: DiNozzo, track down the bad seed. I want to know what he was doing around the time his brother disappeared. TONY: Yeah, I already set up an interview for later this afternoon, Boss. GIBBS: Take Kate. McGee, contact Cooper. I want to know how he found that vehicle. MCGEE: So we're going to cooperate with him? GIBBS: No, McGee, he's going to cooperate with me. KATE: I'll be right back. I'm just going to run this down to Abby. Enjoy. (SFX: ALL THROW VEGGIE WRAPS IN TRASH CAN) CUT TO: EXT. HANGAR - DAY (SFX: CAR DOORS CLOSE) KATE: Beyond first class? You gotta be kidding me. You might as well call it Rich Jackass Airways. TONY: I think it sounds cool. KATE: You would. TONY: What's that supposed to mean? KATE: Nothing, Rockefeller. TONY: Oh, I get it. So because I grew up with money that somehow makes me bad. Very deep. KATE: Well, it's better than having to work everyday like I had to. TONY: Listen, do you think money makes life easier? Huh? Everything was just a big ol' cakewalk for little Anthony DiNozzo? You tell me, Kate, because I really want to know. KATE: I'm sorry, Tony. I didn't mean anything by it. TONY: Because do you want to know the answer to your question? Yes. Money makes a huge difference. Huge. I miss it every single day of my life so much it makes me want to cry. KATE: You're pathetic. TONY: It's part of my charm. KATE: Yeah. CUT TO: INT. HANGAR - DAY TONY: All right, let's find this little twinkle toes .... Hey, there. We're looking for your boss, Thomas McAllister. Is he around? THOMAS: You'll have to hold on a second. Could you pass me that socket wrench, please, Miss? KATE: Is he even here or shall we stop by a country club or something? THOMAS: I'm Tom McAllister. TONY: Agents Todd, DiNozzo. NCIS. KATE: Do you always work on your own planes, Mister McAllister? THOMAS: Whenever I can find time in my busy social schedule down at the club, Agent Todd. KATE: I'm sorry about that. I didn't... THOMAS: It's fine. You would have been right a couple years ago. And please, call me Tom. KATE: Kate. So, do you own all these planes? THOMAS: Me and the bank. That's my new one out there. I plan on taking it for a test flight today if you're interested. TONY: You don't seem too broken up for a guy who just lost his brother, Tom. THOMAS: I've known he's been dad for quite some time, Agent DiNozzo. The first week you expect a ransom note. After a month you pray. A year... you just know. KATE: When was the last time you talked to your brother? THOMAS: About three months before the accident. Would you believe we grew up fishing at Black Lake? TONY: The thing is it wasn't an accident. THOMAS: The Navy, they said... TONY: Your brother was mrder. THOMAS: Are you absolutely positive about that? KATE: He was sht on the weekend of October fourth, two thousand two. I'm sorry. TONY: Considering his body was found dumped twenty miles from your house, we'd like to know where you were the weekend he disappeared? THOMAS: Me? I was at home. TONY: Anyone who can verify that? THOMAS: I was with my father. TONY: Let me rephrase. Is there anyone who can verify that is still alive? THOMAS: No. Are you saying you think I did it? KATE: We're just following up on any leads we can, Tom. THOMAS: Of course. Whatever I can do to help. CUT TO: INT. SQUAD ROOM - DAY MCGEE: I can't tell you what an honor this is, Sir. Thank you. COOPER: Don't believe everything you read in the book, kid. It's called fiction for a reason. MCGEE: I actually write a little myself. Is there any truth to the rumor that S.E. Eckhart is in fact you? COOPER: If I was a bestselling author, would I be crawling through the swamps of Virginia searching for reward money? MCGEE: No, I guess not. COOPER: Damn straight. Now tell me about your boss. Is he always such a hardass? MCGEE: Agent Gibbs? He's a lot like you, actually. In fact, the main character in my book is based on him. COOPER: Oh, yeah. I hope you got a better deal than I got. MCGEE: He doesn't know it... yet. GIBBS: Don't know what, McGee? COOPER: What a great guy I am, Gibbs. GIBBS: You ready to tell me how you found McAllister? COOPER: You ready to tell me what you pulled out of his car and his corpse? GIBBS: Depends. COOPER: On what? GIBBS: How bad you want that million dollar reward. COOPER: Oh, considering how I don't collect 'til you put the mrder behind bards, oh, you got me by the short hairs here, Gibbs. Yeah. I figured the Lieutenant headed home that weekend. But the back road that he liked to drive... I think it was washed out. Here, take a look at these weather patterns. I spent nine weeks getting these from the National Weather Service. Every Doppler readout, every satellite image I could find. Pocket of storms, real tight, near the road. MCGEE: Enough to swell that creek alongside? COOPER: Yeah, but only on that side of the mountain, kid. My educated guess? I think McAllister doubled back, took this road to the other side where the storm hadn't reached yet. See, the locals only use that road when there are bad storms. MCGEE: It's right along Black Lake, Boss. COOPER: I figured if somebody wanted to kll him, they had to know the roads and the weather the way McAllister did. And they'd have to know he was coming. Am I right? (SFX: ELEVATOR DOORS SLIDE OPEN) TONY: I wouldn't have believed it if I hadn't seen it myself. KATE: What? TONY: Kate Todd acting like a high school girl with a crush. KATE: He's not a mrder, Tony. TONY: I'm sorry, were you using the new NCIS magical mrder detector back there? KATE: My gut. TONY: Ah. If you were a guy, I would say you were using-- KATE: Don't even say it if you want to live! GIBBS: What did Thomas McAllister have to say? KATE: He hadn't heard from his brother in three months. TONY: Definitely hiding something, boss. KATE: My best guess, it was grief. There's no way he's involved, Gibbs. GIBBS: Abs, what do you have? KATE: The last three calls that came in on the phone from the lake were all made on Friday, October fourth. GIBBS: Yeah? KATE: And they were all from his brother, Thomas McAllister. Sorry, Kate. (MUSIC OUT) FADE IN: INT. NCIS GARAGE - DAY (SFX: TRUNK CLOSES) COOPER: This McAllister family's got more skeletons than a North Korean prison camp, Gibbs. That's everything I turned up. Six months of leg work. Is it okay to smoke in here, sweetheart? KATE: It's Agent Todd, and no, Detective Cooper. It's a federal office building. COOPER: It's a wonder you guys catch anybody working under these conditions. KATE: We manage. GIBBS: This supposed to be in some sort of order? COOPER: The order is up here, Gibbs. And I'll be glad to lay it out for you once you tell me what you found in that wreck. GIBBS: Lieutenant McAllister was sht. COOPER: How many times? KATE: At least once. COOPER: You get the round? GIBBS: It was recovered from the passenger-side door. COOPER: Uh-huh. pstol, huh? rfle would go clear through. GIBBS: Forty five. COOPER: Ah. Car must have been stopped. He was approached, but not alarmed. Know his attacker? One sht, point blank. Blam. Poor sap never saw it coming. You know how, Gibbs. Want to know why? (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) TONY: Ow! Angle your end down, Probie. MCGEE: I told you we should have taken the legs off. TONY: Ow! Ow! I said down! What does Cooper need this thing for anyway? MCGEE: He's old school. It's part of his process. He has solved every case he's taken on, Tony. How many detectives do you know with a hundred percent batting average? TONY: You mean besides Gibbs?(SFX: TONY AND MCGEE STRUGGLE TO MOVE THE TABLE) TONY: Finally. GIBBS: Change of plans. We're doing this upstairs. (SFX: ELEVATOR DOORS SLIDE CLOSED) MCGEE: Maybe we should take the stairs. TONY: Maybe you should take the legs off like I told you to. I'm going to take the stairs. MCGEE: I'm the one who said that-- TONY: Ah! Ah! CUT TO: INT. SQUAD ROOM - DAY COOPER: Elaine McAllister, the mother. Into the occult in a big way. Psychic, séances, all that weird sh-stuff. She dies in ninety three, the family falls apart. GIBBS: How? COOPER: The old man. He took it pretty hard. He decided he was going to contact the dad wife. Starts neglecting the family business. GIBBS: What do you mean by make contact? COOPER: He consults this space cadet, Saleena Lockhart. Claimed to be a psychic. KATE: I've heard of her. She used to have that tabloid astrology column. TONY: I don't buy it. KATE: Astrology? TONY: No, you reading tabloids. COOPER: She weasels her way into the old man's life. Next thing you know she's practically running it. McAllister Avionics starts to slide until it's almost bankrupt by two thousand. GIBBS: How much money did he leave her? COOPER: You're quick, Gibbs. Almost ten million. He changed his will two weeks after the Lieutenant went missing. The surviving brother, still fighting it in court. TONY: She's kind of like Anna Nicole. COOPER: Who? GIBBS: That's what I said. McGee, run a background on this whack job. I want to know where she is right now. MCGEE: On it, boss. COOPER: I know what you're thinking. She didn't do it, Gibbs. This is a smoking gn. Thomas McAllister had a plan to save the family's fortune. He wanted to get out of avionics and into his own airline. And it's a good plan, but it involved leveraging every remaining asset the McAllister's had. The brother didn't agree. GIBBS: The Lieutenant was cashing out of the company? COOPER: And going his own way. This is the contract divesting him of all family business. GIBBS: How'd you get this? COOPER: You don't want to know. What you want to do is look at the date. GIBBS: October fifth, two thousand two. COOPER: The weekend he vanished. Luckily for the little brother, he didn't sign the contract. GIBBS: I don't believe in luck. COOPER: Neither do I. So when are you bringing McAllister in? GIBBS: I'm not. COOPER: What?! But it's all there! Motive, opportunity, the calls on the Lieutenant's cell phone. GIBBS: When you were a cop, did you let civilians lay out your cases? Or did you work them yourself? COOPER: NCIS has had this case for two years. How long am I supposed to wait? GIBBS: 'Till I'm done! You are looking for the reward. I am looking for a kller. COOPER: Thomas McAllister is your man, trust me! GIBBS: I don't trust anyone either. Kate, how is your rapport with McAllister? TONY: She's got more than a rapport, boss. GIBBS: Well, good. Call him. You're having dinner with him tonight. KATE: What if he says no? TONY: The way he was looking at you? I think you're going to be the one saying no. GIBBS: McGee, you find my psychic yet? MCGEE: I have her business address. It's a TV talk show set in D.C. She's there now. GIBBS: DiNozzo, you're with me. Hey Cooper! I trust you can find your way out. CUT TO: EXT. SOUND STAGE - DAY TONY: You believe in any of this psychic stuff? GIBBS: No, you? TONY: Ah, used one on a case in Baltimore once. Lead us right to this kidnapped five year old girl. GIBBS: Is that a fact? TONY: Yeah. How do you explain it? GIBBS: Simple. She was probably in on it. ASSISTANT: (V.O.) Rolling! GIBBS: Special Agent Gibbs and DiNozzo, NCIS. We're looking to find Saleena Lockhart. ASSISTANT: Yeah, she's inside, but you can't go in. Hey! Hey, wait! They're still shting! Damn! (GIBBS AND TONY ENTER THE STAGE) CUT TO: INT. STAGE - DAY SALEENA: And your grandfather wants you to know that he will always be with you, Sally. Always. (SFX: SALLY CRIES) (SFX: APPLAUSE) SALLY PARKER: Thank you so much, Saleena. SALEENA: And remember, look and you shall see, listen and you will hear. Our departed loved ones still have much to teach us. (SFX: APPLAUSE) TONY: Huh. You think this is how they do it on the Oprah Show? GIBBS: Never believe what you see on TV. SALEENA: Until next time, I'm Saleena Lockhart. STAGE MANAGER: And cut! (SFX: BELL) SALEENA: Look and you shall see... spelled S-E-A? What kind of third grader is writing these cue cards!? STAGE MANAGER: Just give us ten minutes and we'll sht it again. SALEENA: I am financing this pilot with my own money. I can't afford another of your ten minutes! SALLY PARKER: If anybody needs me, I'll be in craft service. SALEENA: Make sure you save some for the rest of the crew. What?! ASSISTANT: There are two guys here to see you. I tried to stop them. Sorry. GIBBS: Special Agents... SALEENA: Gibbs and DiNozzo from NCIS. How may I help you? GIBBS: You're the psychic. You tell me. SALEENA: Brian McAllister. You found his remains in Black Lake. TONY: Wow, she's good, Boss. GIBBS: It's on the news, DiNozzo. SALEENA: I told Brian's father that I felt Brian was in a cold, dark place. GIBBS: You can say that. He was mrder. SALEENA: Yes. Yes, he told me. TONY: Who? SALEENA: Brian. We connected through a passage on the other side. GIBBS: Passage? That's what you call it? SALEENA: You look skeptical. Oh, that's okay. You don't have to believe. TONY: So did he tell you who did it? SALEENA: It doesn't work that way, Agent DiNozzo. Can I get a green tea, please? GIBBS: How does it work? SALEENA: Well, I get impressions, feelings. I don't get specific details. GIBBS: Do you have any feeling about his father including you in his will? SALEENA: I didn't ask him. GIBBS: I'm not a psychic, but considering he was a fighter pilot, I'd say he'd be pretty pissed off about it. SALEENA: Your point, Agent Gibbs? GIBBS: Where were you the weekend Lieutenant McAllister was mrder? SALEENA: Luray. Luray Caverns. I was hosting a spiritual retreat. TONY: Luray? Hey boss, isn't that about fifteen miles from Black Lake? GIBBS: Can you tell me what I'm thinking now, Miss Lockhart? SALEENA: I don't have to be a psychic to tell that. Could we discuss this outside please? Your energy is disrupting my set. Thank you. CUT TO: EXT. SOUND STAGE - DAY SALEENA: Look, I had nothing to do with Brian's disappearance. You should talk to his brother. GIBBS: Yeah? Why is that? SALEENA: Thomas was the black sheep, and he hated Brian. I may be many things, Agent Gibbs, but I am not a mrder. GIBBS: But you talk to dad people. SALEENA: I have over a dozen people who can verify my whereabouts on that weekend. One of them is a senator. TONY: We'll need their names. SALEENA: My lawyer will get them to you. Now, is there something else I can do for you? (MUSIC OVER ACTION/GIBBS KNOCKS SALEENA TO THE GROUND) (SFX: gn) GIBBS: You didn't see that one coming, did you? TONY: Sonovabitch! GIBBS: Did you get a license number? TONY: Yeah, I got one. GIBBS: That's a good job, Tony. CUT TO: INT. NCIS LAB - DAY ABBY: It's definitely from a forty-five round, guys. Just give me a sec to line up the rifling patterns. GIBBS: You run the plates? ABBY: Came back stolen. TONY: Figures. ABBY: The markings are a match. It's from the same pstol that klled Lieutenant McAllister two years ago. (MUSIC UP AND OUT) MUSIC IN: INT. NCIS HEADQUARTERS - DAY TONY: Why don't we just drag McAllister in for questioning, Boss? GIBBS: Because his lawyers make more in one hour than you make all week. TONY: That's an excellent point. So you're saying I deserve a raise? Or not. GIBBS: We need more than circumstantial evidence to take McAllister down. TONY: I agree. But what do we get out of Kate going on a date with him? GIBBS: I get to search his house for that Colt forty-five without him knowing. TONY: And if it turns out he's our mrder? GIBBS: That's why you're going with her. KATE: I'm meeting him at the airport in twenty minutes, Gibbs. GIBBS: Hey, I need you to distract him for at least two hours so we can search his house. KATE: Shouldn't be a problem. He already invited me to dinner. (LONG bat) So, how do I look? TONY: Eh. KATE: What do you mean, eh? TONY: I mean... yeah. You look fine. What's wrong with fine? KATE: I'm going for hot here, Tony. TONY: Well, in that case, do you mind? MCGEE: Boss, I got the search warrant. GIBBS: Yeah, you're with me. Get your things. TONY: Yeah, now that...that is hot. GIBBS: Are you two done playing dress-up? KATE AND TONY: (IN UNISON) Done. GIBBS: All right, get moving. I want a comm check in fifteen minutes. KATE: On it. GIBBS: Hey Kate, you looked better the other way. CUT TO: EXT. HANGAR - NIGHT TONY: (V.O.) How do you read me, Kate? (V.O./FILTERED) Say again? KATE: (V.O.) I said (ON CAMERA) loud and clear. TONY: (V.O./FILTERED) Slide the mic... (ON CAMERA) closer to your throat, please. KATE: How's that? TONY: (V.O./FILTERED) Crystal. CUT TO: INT. HANGAR - NIGHT (DOOR CLOSES) KATE: Hello? Hello? THOMAS: Kate. Whoa, do I feel underdressed. KATE: Well - when you said dinner...? THOMAS: Hey, I'm not complaining. You look fantastic. KATE: Thank you. So where are we going? THOMAS: Actually, I thought we might stay here. If you survive my cooking, there's a few things I'd like to tell you about my big brother. CUT TO: EXT. MCALLISTER HOME - NIGHT MCGEE: Uh... Boss? Where are we going? GIBBS: We're going around back, McGee. (SFX: MCGEE RATTLES THE DOORKNOB) MCGEE: It's locked, Boss. GIBBS: Well, yeah, McGee. That's kind of the point of having doors. MCGEE: The last two times I encountered a situation like this, Tony threw a rock through a window, Kate climbed in a second story window. GIBBS: Huh. You don't say. (DOOR OPENS) GIBBS: Let's go. CUT TO: INT. HANGAR - NIGHT THOMAS: I wasn't entirely truthful this afternoon, Kate. When you come from the type of family I did, you get used to keeping secrets. KATE: What kind of secrets? THOMAS: My parents were always a bit eccentric. When my mom died, my Dad pretty much lost it. KATE: He started talking to dad people? THOMAS: You've been checking up on me. KATE: It's my job, Tom. THOMAS: At first I thought it was harmless. But the psychic he was seeing, she started manipulating him, really cutting him off from the rest of the family. KATE: Saleena Lockhart. THOMAS: Really checking up on me. KATE: What did your brother think of her? THOMAS: He didn't. Brian was too busy with his Naval career. He wasn't around to see the damage she was doing. KATE: Somebody tried to kll her today. THOMAS: I thought about it myself more than once. KATE: A lot of people think it was you. THOMAS: What do you think, Kate? KATE: Well I'm here, aren't I? CUT TO: INT. MCALLISTER HOME - NIGHT (SFX: DOOR OPENS B.G.) (DOOR OPENS QUICKLY) GIBBS: NCIS!! COOPER: Hey, do you mind? GIBBS: Cooper, what are you doing here? COOPER: Same thing you are. GIBBS: I have a warrant. COOPER: Are you going to arrest me? GIBBS: It depends. COOPER: On what? GIBBS: What you found. COOPER: I'm hoping a million dollars. I checked all the local counties. Thomas McAllister doesn't own any gn. But his old man? Bit of a gn nut. Even owns a Colt forty-five. GIBBS: Recently fired. (SFX: TELEPHONE BEEP TONES) (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) (SFX: CELL PHONE RINGS) TONY: (INTO PHONE) DiNozzo. (SCENE CUT) GIBBS: (INTO PHONE) Tony. TONY: (V.O./FILTERED) Yeah, Boss. GIBBS: (INTO PHONE) Take him down. TONY: (V.O./FILTERED) I'm on it. CUT TO: INT. HANGAR - NIGHT THOMAS: I called Brian the weekend he went missing. I was trying to get him to come home, talk some sense into Dad. He said he'd think about it. KATE: Why would you lie to us about it? THOMAS: Because I thought that I was responsible for his death. KATE: Were you? THOMAS: When they found his car in Black Lake, I thought he finally decided to listen to me for once. The roads in Hastings are deathtraps in the daytime... at night, when you're tired? KATE: You thought it was an accident? THOMAS: Until you told me he was mrder. Only one person stood to gain from his death, Saleena Lockhart. KATE: Unfortunately, there is one more. (SFX: THOMAS OPENS THE CONTRACT) THOMAS: He never would have signed this. TONY: Thomas McAllister. You're under arrest for the mrder of your brother. THOMAS: So I guess dessert is out of the question. CUT TO: INT. LAB - DAY GIBBS: Are you okay? KATE: I'm fine. GIBBS: You don't look fine. ABBY: I hope I'm getting overtime for this, Gibbs, because I'm missing my cousin's birthday. GIBBS: Were they a match? ABBY: It's the same wapon that klled the Lieutenant and sht up the makeup trailer today. GIBBS: Thanks, Abs. KATE: Figures. I finally meet a nice guy and he turns out to be a mrder. ABBY: Happens to Tony all the time. Hey, do me a favor, Kate. KATE: What? ABBY: My back is klling me. I'm waiting. And don't shortchange me this time. KATE: You know, your muscles wouldn't be so tight if you stopped drinking all that caffeine crap that Gibbs is always bringing you. ABBY: (V.O.) Oh, but I love the caffeine crap, Kate! GIBBS: Abby, I need you out here! Now! How much time did you spend on this door? ABBY: Um... enough to get the bllet's trajectory. I was going to test for metal fatigue and age in the morning. GIBBS: Do it tonight. ABBY: Why? I mean, I'll have it for you in thirty minutes, Sir. GIBBS: Kate will help. CUT TO: INT. OBSERVATION ROOM - DAY MCGEE: Well, it looks like you did it again, Mister Cooper. COOPER: Oh, I'm getting old, kid. I think I'm going to retire after this one. TONY: If you ask me, we should get fifty percent of that million. COOPER: Too bad life ain't fair, DiNozzo. Oh, it's about time. In my day we didn't wait two hours to interrogate someone. TONY: Let me guess, you just bat it out of them? COOPER: Yeah, something like that. THOMAS: (V.O.) I'm sure you hear this a lot. CUT TO: INT. INTERROGATION ROOM - DAY THOMAS: I'm innocent, Agent Gibbs. GIBBS: I know. CUT TO: INT. OBSERVATION ROOM - DAY COOPER: What the hell kind of interrogation is that? CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: You're free to go, Mister McAllister. (DOOR OPENS) (PASSAGE OF TIME) COOPER: It's not enough I do your job for you, now you want to arrest me for it? GIBBS: Ah, we do owe you for finding the Lieutenant for us, Cooper. The problem is, it isn't mrder. CUT TO: INT. OBSERVATION ROOM - DAY COOPER: Give me a break, Gibbs. CUT TO: INT. INTERROGATION ROOM - DAY COOPER: You saw the evidence. GIBBS: I did. Brian McAllister died in a car accident. The bllet fired into his car wasn't from two years ago. (V.O.) The metal around the impact was only recently exposed to water. Two weeks (ON CAMERA) sound about right to you? COOPER: What's this got to do with me? GIBBS: The reward was offered for finding the Lieutenant's kller. In order to collect, you had to manufacture one. COOPER: I don't know what the hell you're talking about. GIBBS: It might have worked. We would have found that gn eventually. But you just couldn't wait. What are you going to do with the money, Cooper? Hmm? Gambling debts? Retirement? Taking those shts at Saleena Lockhart. That was overkill. Too bad we caught you putting it back. COOPER: Yeah? Good luck proving it. GIBBS: Oh, I will. This is an Instant sht I.D. Kit. It'll tell me if you fired a gn recently. COOPER: Swab away, Gibbs. There's no gn residue on these hands. GIBBS: Oh, a private dick like you... I'll bet you were wearing gloves. I figure any man who solves the unsolvable needs a trademark. And I'm betting yours is that tacky trench coat. You probably never take it off, huh? (MUSIC OVER ACTION/GIBBS PERFORMS THE TEST) GIBBS: If this comes up blue, I've got you for attempted mrder. Good luck trying to collect that million dollars. Get up. CUT TO: INT. OBSERVATION ROOM - DAY MCGEE: I don't believe it. TONY: Sorry, Probie. I felt the same way when I found out professional wrestling was fake. MCGEE: But he was going to frame an innocent man just for the reward? TONY: It's all about the Benjamins. MCGEE: Sometimes. Not always. CUT TO: INT. SQUAD ROOM - DAY THOMAS: You up for that dessert now? KATE: At two thirty in the morning? THOMAS: I think I might know a place that's still open. KATE: And where would that be?(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) THOMAS: New York. Sometimes it's good to own your own airline. TONY: New York? I love New York. KATE: It's a small plane, Tony. THOMAS: Maybe next time. (SFX: DOORS SLIDE SHUT) CUT TO: EXT. SKY - NIGHT KATE: (V.O.) So you're Catholic, right? (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x11 - Black Water"}	foreverdreaming
FADE IN: INT. TELEMARKETING CALL CENTER (SFX: TELEMARKETERS B.G.) SALESWOMAN: Hi. This is Alison and I'd like to tell you about our special new program. Hello? KESTA: Hi, Petty Officer Lambert? LAMBERT: (V.O./FILTERED) Yeah. KESTA: Hi, my name is Roland Kesta. I'm calling on behalf of Thrifty Phone Services. LAMBERT: (V.O./FILTERED) I've thought it over and I don't think I want to change my phone service. KESTA: That's what most people say until they hear how much we can save them on long distance calls. LAMBERT: (V.O./FILTERED) Well, I don't make many long distance phone calls, okay? Did you hear that? KESTA: What? LAMBERT: It sounded like glass breaking in the kitchen. KESTA: No. Our long distance service is exactly the same as A T and T, Sprint, S-B-C, except we can save you... LAMBERT: (V.O./FILTERED) Hey, who the hell are you? KESTA: The man who's going to save you forty percent on your long distance calls, Sir. Um... there's no contract to sign. (SFX: FILTERED STRUGGLE B.G.) (SFX: LAMBERT SCREAMS B.G.) KESTA: Petty Officer Lambert? (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "DOPPLEGANGER" KATE: Last time I'm going to tell you, Tony. Don't answer my phone, use my computer, read my mail, look through my purse, scan my PDA or touch my cell phone. Ever! TONY: (INTO PHONE) And an extra side of hash browns. (TO KATE) Just so we're clear, Kate. I didn't do any of those things. Zero. Zip. Nada. KATE: Then how did you know where I went to breakfast? MCGEE: Logo on the coffee cup in your wastebasket. TONY: Anyone invite you into this conversation, Probie? KATE: You looked through my trash! TONY: Did you say it was off limits? Huh? Did you? KATE: Why are you doing these things? TONY: Sharpening my investigative skills. GIBBS: Grab your gear. KATE: What's up? GIBBS: A dad sailor. KATE: We didn't get any calls. TONY: Saw it on the news. Huh, Boss? GIBBS: Hey, DiNozzo. For once you're right. Come on. Let's go! CUT TO: EXT. STREET - DAY GIBBS: Who's in charge here? DETECTIVE: Lieutenant Cheney, Sir. CHENEY: Finish this in ten. GIBBS: Lieutenant Cheney? Special Agent Gibbs, NCIS. CHENEY: You must be psychic, Gibbs. I just put in a call to NCIS. GIBBS: Oh, not psychic. Just watched the news. CHENEY: They monitor our radio calls. Chief says cooperate with the news media. GIBBS: Budget hearings time? CHENEY: You got it. GIBBS: What do we have here? CHENEY: Not sure yet. GIBBS: News said a sailor was mrder. CHENEY: Maybe. Kitchen door is broken in and judging from the blood, it could be mrder. GIBBS: No body. CHENEY: No body. Miller? MILLER: Yeah, boss? Right away, boss. CHENEY: We got a nine-one-one from a telemarketer. Said he was talking with a Petty Officer Dion Lambert when he heard a struggle and the line went dad. Call was traced here. CUT TO: INT. LIVING ROOM - DAY RAND: Lieutenant, your ex-wife just called. CHENEY: Which one? RAND: The nasty one. CHENEY: You're going to have to be more specific. KATE: This is too weird. MCGEE: Definitely. TONY: Good weird. RAND: You want me to call her back? CHENEY: No. Next time one of my ex's calls, get her name. MILLER: Lieutenant. CHENEY: Unless you object, this is yours. GIBBS: No objection. CHENEY: Let's go, Rachael. TONY: Hey Rachael. I'm Tony. If you want to get together and compare notes? RAND: What's your shoe size? TONY: Twelve. RAND: You wish! (RAND WALKS O.S.) TONY: No, it is! It really is! You can measure it if you want! GIBBS: DiNozzo! TONY: Yeah, boss? GIBBS: Trace evidence, bag and tag. Kate, sketch and sh*t. McGee, lap top and answering machine. MCGEE: Right. KATE: That was really odd. GIBBS: Hm... what? KATE: You know, how you and him and... never mind. Tony, have you seen my sketch pad? TONY: Yes, it's in the truck under my seat. KATE: Under your seat?! How did it-- ?! TONY: I like those pants. CUT TO: EXT. HOUSE - DAY MONTELEONE: (V.O.) Take care of that for me.(SFX: KATE BUMPS INTO MONTELEONE) KATE: Sorry. MONTELEONE: Wow. You know, your eyes are the same color as my Porsche. KATE: You've got to be kidding. MONTELEONE: What do you say we have dinner? KATE: Why bother with preliminaries? MONTELEONE: Ah, now who's kidding? You serious? CHENEY: She's not, but I am. Come on, Monteleone. (SFX: CAR DOORS OPEN) RAND: sht gn! MONTELEONE: Get in the car, Probie. KATE: It's déja vu. CUT TO: INT. CALL CENTER - DAY KESTA: (V.O./FILTERED) There's no contract to sign. (SFX: TAPED STRUGGLE/ SCREAMING B.G.) KESTA: (V.O./FILTERED) Uh... Petty Officer Lambert? GIBBS: How many calls a day do you make? KESTA: Somewhere between three and four hundred. KATE: Do you ever feel guilty calling people uninvited, intruding into their lives? KESTA: At first a little. When you get cursed at a couple hundred times, you get over it. GIBBS: Why'd you keep selling when you knew something was very wrong? KESTA: My boss doesn't want us to stop selling for any reason. He's got the compassion of a cluster bmb. GIBBS: How did you get Petty Officer Lambert's number? KESTA: From a list broker. KATE: How'd he get on the list? KESTA: I don't know. A magazine subscription, warranty cards, supermarket charge. KATE: Supermarket charge? KESTA: Why do you think they give you those little key tags they scan when you check out? KATE: For discounts! KESTA: It's to collect information. They sell it to telemarketers. What brands you buy. How much. How often. KATE: Isn't that against the law? KESTA: Anytime you write your name down, it's going in somebody's database and then being sold to somebody else. KATE: Wow. Okay, well I'm going to need your work, cell, and home numbers. KESTA: All right, but please don't call between six and eight, because that's usually... KATE: You said six and eight, right? CUT TO: INT. SQUAD ROOM - DAY GIBBS: Tell Abby I want a full acoustical analysis. MCGEE: Uh... boss, you know that she's working on Petty Officer Lambert's hard drive, answering machine and all the crime scene evidence. GIBBS: Then help her, McGee! MCGEE: Yes, boss. TONY: You really think it's a good idea for Probie to be alone with - I was going through Lambert's papers. KATE: Something you're very good at. TONY: There's a second name on the lease. George Mansur. KATE: There is no sign of a roommate in that house, Tony. TONY: Well roommate's move out, Kate. Sixteen months ago you had a roommate. KATE: Tony! GIBBS: Kate, you're with me. KATE: Gladly. GIBBS: Tony, find Mansur. TONY: On it, Boss. (MUSIC OVER ACTION/TONY READS KATE'S PHONE) CUT TO: INT. OUTER LAB - DAY ABBY: The only blood type at the scene was O-positive. KATE: Petty Officer Lambert's O-positive. ABBY: It's the most common blood type there is. I shipped a DNA sample to the Armed Forces Registry. GIBBS: The fingerprints we lifted his? ABBY: Your missing corpse is Petty Officer Lambert. GIBBS: Unidentified prints? ABBY: I have not had time to run all the prints that you lifted yet. GIBBS: Blood-splatter analysis? ABBY: Okay Gibbs, I know you think I'm Super Girl - actually, my hair's probably Wonder Woman or !sis or the Power Puff girl. KATE: I've always been partial to Xena. ABBY: I don't know about her. No self-respecting superhero should wear open-toed shoes. KATE: Oh, I agree. MCGEE: (V.O.) He erased his hard drive. ABBY: No problem. MCGEE: He used a D-O-D certified wipe program. ABBY: Uh-oh. KATE: Uh-oh doesn't sound good. ABBY: It's not. A D-O-D wipe not only deletes, but it overrides seven times. MCGEE: There's no way to recapture the information, Boss. GIBBS: Why would he use something like that on his home computer? MCGEE: Well, he's an information systems tech and it could just be a matter of course or he could be... GIBBS: Hiding something. He wipe his answering machine? MCGEE: No. There were two calls. One yesterday from Blockbuster Video - late returning Happy Gilmore. And one two days ago from Thrifty Phone Services. GIBBS: All right, let's hear it. (TO ABBY) You, blood splatters. ABBY: (SINGS) Yo ho heave ho. BROUGH: (V.O./FILTERED) Petty Officer Lambert, my name is Dennis Brough. I'm calling on behalf of Thrifty Phone Services. How would you like to cut-- GIBBS: That's it? MCGEE: He must've picked up. GIBBS: If they called him two days ago. Why call him back? Dennis Brough, Kate. KATE: Got it. GIBBS: Acoustics analysis? MCGEE: Yes. On that next, Boss. (MUSIC OVER MONTAGE OF LAB WORK SCENES) ABBY: Who was that who said always expect the unexpected? GIBBS: Me. ABBY: Well, you're right again. MCGEE: Boss, you sure are! ABBY: McGee, you're about to interrupt unbelievable news. MCGEE: Abby, trust me. My news is much more unbelievable. KATE: Gibbs, you're never going to believe what I found! MCGEE: Kate, hold on one second. ABBY: No! KATE: This is really, really important. MCGEE: Abby, hold on, okay? (SFX: ALL TALK OVER) (SFX: WHISTLE) GIBBS: Hey! Abby? ABBY: Okay, this is the blood trail found on Petty Officer Lambert's kitchen floor. Notice anything hinky? GIBBS: Yeah, they're passive drops. ABBY: Exactly. Created by the force of gravity acting alone. In blood trails the shape of drops are affected by gravity and movement. The tail always points in the direction of travel. GIBBS: There was no movement when the blood dropped. ABBY: Nope. Somebody stood there, dropped some blood, took a step, dropped some blood, took a step, dropped some blood GIBBS: McGee! MCGEE: The acoustical analysis of the phone call indicates that the fight sounds were unidirectional. I overlaid Kate's sketch of the crime scene and found the source to be Petty Officer Lambert's computer. They were sound effects, boss. GIBBS: Okay. Kate. KATE: I spoke to Dennis Brough from the Thrifty Phone Service. He's home with the flu. His supervisor gave Dennis' lead to Roland Kesta. GIBBS: Petty Officer Lambert asked that telemarketer to call him back. KATE: Between eight and twelve last night. GIBBS: Our Petty Officer faked his own mrder. (CUT TO BLACK) FADE IN: INT. SQUAD ROOM - DAY GIBBS: We have one advantage over Petty Officer Lambert. He doesn't know we know he's still alive. KATE: I'll flag his accounts. Bank, credit, ATM, e-mail. TONY: Kate, this mojo faked his own death. Left his laptop, wallet, cell phone, and car behind. Do you really think he's going to swipe the old charge card at the local Jugs-Are-Us? GIBBS: Tony's right. TONY: Thanks Boss! GIBBS: You check it anyway, Kate. You never know. If Tony does find his ex-roomie, check his accounts, too. TONY: I'm zoning in on him. GIBBS: Yeah? You locate him? TONY: Not yet, but I've got his driver's license. Federal Tax Return, too. He's a freelance computer geek. Made six figures last year. MCGEE: Wishing you were a computer geek, Tony? TONY: I'd rather be homeless than be you, Probie. GIBBS: That's an old address. Same as Petty Officer Lambert's. TONY: He's depreciating a ninety three Hyundai on his return. MCGEE: How can you depreciate a car that old? TONY: More important question. Why would a guy pulling down six figures a year drive a car that old? GIBBS: Only one way to find out. TONY: Find him and ask him. Which I am trying ... going to do! GIBBS: McGee, you're with me. MCGEE: Where are we going, Boss? GIBBS: To talk to Petty Officer Lambert's shipmates. MCGEE: He's not on a ship, Boss. Oh, sorry. You were using a military euphemism. GIBBS: You think? MCGEE: So you mean Bethesda Hospital Computer Center. GIBBS: You speak their language. MCGEE: You mean I'm going to interview them? GIBBS: I interview, you translate. Come on! CUT TO: INT. HOSPITAL COMPUTER CENTER - DAY WILSON: Lambert's U-A for one day, NCIS is investigating? GIBBS: Do you have a problem with that, Petty Officer Wilson? WILSON: No, Sir. GIBBS: What was Petty Officer Lambert's job? WILSON: He was developing a new code base for enterprise resource and planning. The application will be able to support medical multi-processing and scalable architecture up to eight terabytes of data. MCGEE: Wow! Phew! (TO GIBBS) He was writing a new computer program as part of an overhaul and update to the Naval medical computer system. GIBBS: Anything sensitive? WILSON: A person's health information is very sensitive, Sir. GIBBS: National security sensitive, Petty Officer. WILSON: We have a circuit base gateway, Sir, which applies a security mechanism anytime there's a U-S-D or T-C-P connection established. Once that connection's been made, packets can travel between hosts without further checking. MCGEE: No. WILSON: Petty Officer Lambert's fit-reps were above standard, Sir. He was just a regular guy. GIBBS: Our definition of regular might be different. MCGEE: One man's Linex is another's O-S two. WILSON: I hear that. MCGEE: Sorry. GIBBS: Any recent changes in his behavior, attitude? WILSON: No, Sir. Well, take that back. A few days ago he seemed jumpy. I tapped him on the shoulder to talk about the performance degradation in the application gateway, and he about came out of his chair. MCGEE: He was.... nervous. GIBBS: Yeah, I got that, McGee. MCGEE: Okay. GIBBS: I'm going to need...I'm going to need copies of all this stuff. MCGEE: Uh... access to the source codes, flow charts, and the logical processes involved in the application. WILSON: Not a problem, Sir. WILKERSON: Special Agent Gibbs? Karen Wilkerson. Petty Officer Wilson's supervisor. GIBBS: You're late. WILKERSON: We were making a software change-over. It's been crazy. GIBBS: Hmm. (TO MCGEE) Get copies of what we need, McGee. MCGEE: Right, Boss. GIBBS: Tell me about Petty Officer Lambert. WILKERSON: (V.O.) Not a lot to tell. Good guy. CUT TO: INT. CORRIDOR - DAY WILKERSON: Hard worker. First one in in the mornings, usually the last to leave. Volunteered to work weekends. GIBBS: Yeah. You work weekends? WILKERSON: Not if I can help it. Why is NCIS investigating a sailor who's missed one day of work? GIBBS: He's UA, Miss Wilkerson. WILKERSON: It's not like he missed a deployment. GIBBS: Petty Officer Wilson says he seemed jumpy lately. WILKERSON: Well, he'd be in a better position to know that than me. Petty Officer Lambert and I didn't have much day-to-day contact. You work weekends, Special Agent Gibbs? GIBBS: If I need to. WILKERSON: Why do I feel you need to a lot? (GIBBS LAUGHS) WILKERSON: Anything else? I have to get back to work. GIBBS: Not at the moment. WILKERSON: Well, if there is, I'll make myself available. Even on the weekend. Oh, might even be on time. GIBBS: Wow. CUT TO: INT. SQUAD ROOM - DAY KATE: Enough, Tony. I have nothing to hide. TONY: Really. For someone with nothing to hide, you seem awfully concerned about what other people know about you. KATE: Why? Because I get upset when you go through my personal belongings? TONY: Exactly. KATE: Well, Tony, some people enjoy having a private life. Unlike you, we don't go around informing everyone about the frequency of our... hooking up. TONY: In a slump? KATE : Gibbs. Mansur withdrew six thousand from his bank account the week before he moved out. TONY: He's also moved three times in the last six years. This last time he didn't file a change of address at the post office. Thank you. GIBBS: Whatever the hell this is, they're in it together. TONY: Yeah, well... what is... whatever the hell this is? GIBBS: Find Mansur. TONY: Yes. And we'll find out. I know, Boss. I'm trying. GIBBS: Try harder. TONY: Right. KATE: You know, Gibbs, maybe Lambert faked his own death to get out of the Navy. You know, wanted to make a few bucks like his roomie. GIBBS: Not likely. His enlistment was up in five months. McGee! MCGEE: Yeah, Boss. GIBBS: Check with Abby. Find out how she's doing with that stuff you brought in. MCGEE: Right. CUT TO: INT. LAB - DAY MCGEE: This should help keep you awake. ABBY: Thanks. I must have looked at a hundred thousand lines of code. Is it possible to die of boredom? MCGEE: No. ABBY: How can you be sure? MCGEE: Well, because I had Professor Birnbaum for Economics. Believe me, his class makes staring at a monitor seem like Mardi Gras. ABBY: I don't know. This really sucks. MCGEE: I'll tell you what sucks. Working after school as a burnt potato-chip picker. ABBY: You're making that up. MCGEE: Have you ever seen a burnt potato chip in a bag of potato chips? ABBY: Hm... now that you mention it. MCGEE: Sat next to a conveyer belt, air choked with oil, watching cooked potato chips fly by. I would pick up the burnt ones while trying not to get motion sickness. ABBY: Incinerator operator. Burning medical waste at two thousand degrees. Body parts, body waste. MCGEE: Summer between freshman and hm* year, I was a porta potty cleaner. It was the hottest summer on record. ABBY: Ski lift operator; Alberta. Negative forty-four degrees Fahrenheit. MCGEE: Cleaned asbestos. ABBY: Collected road kll. MCGEE: Tie? No? Okay, before I joined NCIS... ABBY: Is that what I think it is? MCGEE: Depends.... what you think it is. ABBY: The reason Petty Officer Lambert faked his own mrder. (PASSAGE OF TIME) (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) MCGEE: Petty Officer Lambert was part of the team that was updating the Navy's medical computer system. He'd been working on it almost two years. ABBY: Did you tell him? MCGEE: No. Saved the best for you. ABBY: Oh, thanks, McGee! You know how I relish the moments... GIBBS: Stop relishing. Start explaining it. ABBY: Okay. Geez, Gibbs. Five months ago Petty Officer Lambert buried a simple command in the program to send him drugs. MCGEE: Lots of drugs. ABBY: McGee! MCGEE: Sorry. ABBY: For every three hundred and thirty seven prescriptions, one was written for him. It's ingenious in its simplicity, Gibbs. GIBBS: What kind of drugs? MCGEE: Painkillers; Percocet, Vicodin, Oxycontin... ABBY: Oxycontin is twice as addictive as heroin. It's more addictive than pistachios. (bat) Well, have you ever just eaten one pistachio? MCGEE: Actually, I have. Potato chips, on the other hand...(bat) Uh... the Navy writes a lot of prescriptions. So the amount that he was getting, there's no way it was for personal use. ABBY: In the last eight months eighteen thousand Oxycontin pills, twelve thousand Percocet, nine thousand Vicodin. MCGEE: Legal price for an eighty milligram Oxycontin is six dollars. GIBBS: Street price is sixty five to eighty. ABBY: On the Oxycontin alone, he made a million bucks. MCGEE: Cash. GIBBS: Petty Officer Lambert is long gone. ABBY: I would be. (CUT TO BLACK) FADE IN: INT. HOSPITAL COMPUTER ROOM WILKERSON: Three lines of computer code buried among millions. I'm amazed you found it. MCGEE: I didn't really. It was Abby Sciuto. She's a whiz at codes. GIBBS: You never suspected Petty Officer Lambert of abusing his access to the Navy drug system? WILKERSON: Not until you showed up. When NCIS investigates a sailor who's been U-A one day, there's something wrong. After you left, I had Petty Officer Wilson run a check on Lambert's computer. WILSON: I never caught this. Sciuto must be hot. WILKERSON: What made you suspicious, Agent Gibbs? GIBBS: A mrder that didn't happen. Your Petty Officer faked his own death. He wanted us looking for his body instead of him. MCGEE: We'd have done it, too, if Abby hadn't found the hinky blood trail. WILSON: I've got to meet this woman. MCGEE: You know, she's uh... she's probably not your type. Uh... Tats, piercings, dark make up. WILSON: Goth. MCGEE: Yeah. WILSON: I love Goth! GIBBS: Thieves are just like gamblers. They never quit when they're ahead. Why would Petty Officer Lambert? WILKERSON: In five days, the new software system goes online. He must have been afraid it would pick up his scam. WILSON: Got it! He had his prescriptions sent to box seven eighty one, Mailboxes Etcetera, Fourteenth Street. GIBBS: McGee, you two keep pulling Lambert's scripts. See if any are in the pipeline. MCGEE: Happy to, Boss. GIBBS: (INTO PHONE) Lieutenant Cheney, Special Agent Gibbs. OPERATOR: (V.O./FILTERED) One moment, Sir.(SFX: KNOCK ON WINDOW) WILSON: So tell me more about this Abby. MCGEE: You know, I can't work and talk, okay? CUT TO: INT. COMPUTER OFFICE - DAY WILKERSON: Think you'll find him? GIBBS: Usually do. (INTO PHONE) Hey Cheney. It's Gibbs. CHENEY: What do you got? GIBBS: Our missing Petty Officer siphoned thousands of opiates from the Navy drug program. Ring any bells? My office. One hour. (TO WILKERSON) Do you like boats? WILKERSON: Sail or power? GIBBS: Sail. WILKERSON: I love to sail. This weekend? GIBBS: Um... um... I'm still building her. WILKERSON: Which marina? GIBBS: My basement. WILKERSON: Oh, of course. Saturday. GIBBS: If I can find Lambert by then. WILKERSON: Well, what are you doing standing here, Agent Gibbs? GIBBS: Jethro. WILKERSON: Jethro? CUT TO: INT. SQUAD ROOM - DAY MCGEE: Two black coffees, and two grande triple-pump half-caf vanilla lattes. MILLER: Cheers. MCGEE: Right. MILLER: No, mine's the one with the extra foam. MCGEE: Sorry. CHENEY: So Gibbs, I've had my eye on this one guy. He's a lobbyist. Went from dealing to a few friends to supplying the Beltway with illegal painkillers. GIBBS: Well, syncs up. CHENEY: Miller. MILLER: Yes. Just a second. MCGEE: Here, let me help you. (SFX: COFFEE SPILLS) MILLER: My fault. MCGEE: No, it was mine. MILLER: No, I should have been more careful. MCGEE: Not a problem. Not a problem. GIBBS: McGee! CHENEY: Miller! MCGEE AND MILLER: (IN UNISON) Sorry, Boss. CHENEY: Aaron Alan Wright. GIBBS: Ever busted? CHENEY: Once. Dealing to his frat brothers at Syracuse. Got probation. GIBBS: Why haven't you busted him? CHENEY: I want the other end of his pipeline. If I bust him, his supplier just finds another dealer. GIBBS: He's soft. Want to bring him in here for a chat? CHENEY: Have Monteleone and Rand pick up Wright. Deliver him here. MILLER: Sure, Boss. MCGEE: Is that the seventy two twenty? MILLER: It's the seventy two thirty. MCGEE: Sweet. MILLER: Yeah. CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: Petty Officer Dion Lambert. AARON: Sorry, never heard of him. GIBBS: A Navy computer geek. Steals painkillers from the Government. AARON: What does a swabbie stealing painkillers have to do with me? CHENEY: He sells them to you. You sell them to your beltway clients. ARTHUR: This really is a waste of time. CUT TO: INT. OBSERVATION ROOM - DAY ARTHUR: I've advised my client not to answer your questions, and he won't. MONTELEONE: That is beautiful. TONY: Franck Muller Conquistadore. MONTELEONE: Seventy eight hundred retail. TONY: Yeah. You know that guy paid retail. Look at him. CUT TO: INT. INTERROGATION ROOM - DAY CHENEY: We've known you've been dealing for months. AARON: Really. Then why did it take you this long to call me in? GIBBS: The Lieutenant wanted your source, and I just gave it to him. AARON: And that's the Petty Officer? What was his name again? GIBBS: Dion Lambert. AARON: I'm scanning....no hits. CHENEY: This isn't a frat bust for grass, Aaron. GIBBS: This is hard time. Every night. Hard time. CHENEY: Tell us where Petty Officer Lambert's hiding. GIBBS: We'll cut you a deal. CHENEY: Minimum time in a Federal facility without nightly cavity searches. ARTHUR: Aaron, if they had evidence of you doing something illegal (V.O.) which I know you didn't, they wouldn't be talking deals. AARON: I have to listen to my lawyer. He's very expensive. GIBBS: When I find Petty Officer Lambert... CHENEY: And he will. GIBBS: He'll roll on you for a deal. AARON: Really? GIBBS: Yeah. You want to know why? 'Cause he's soft just like you. ARTHUR: What is this, bad cop, bad cop? CHENEY: Gibbs, we miscalculated. GIBBS: You think? CHENEY: Our friend here's looking forward to playing strip poker in Marion... without cards. GIBBS: Yeah, is that true Aaar-ron? ARTHUR: Charge my client or we're walking out! Now! AARON: Bastards! (DOOR OPENS) GIBBS: Aaron? You won't last forty eight hours in Marion. CHENEY: Oh, I figure twenty four. GIBBS: Five bucks. CHENEY: It's a bet. CUT TO: INT. OBSERVATION ROOM - DAY (SFX: TONY LAUGHS) GIBBS: What are you laughing at, DiNozzo?! CHENEY: And you, Monteleone!? GIBBS: We didn't break him! CUT TO: INT. INTERROGATION ROOM - DAY CHENEY: Made him piss his pants, though. GIBBS: Oh hell, yes! CUT TO: INT. CORRIDOR - DAY ARTHUR: I'd wait until we get outside. Aaron... CUT TO: INT. CORRIDOR - DAY TONY: Rachael. Hey, how would you like to discuss that interrogation over some... RAND: Chinese food? I don't think so. TONY: Yeah, how did you know I was -- RAND: Kate said you would. TONY: Well, you see, Kate's just a ... RAND: Jealous? TONY: Did she tell you I was going to say that, too? RAND: I'll give you one thing. You're almost as good looking as... you think you are. CUT TO: INT. SQUAD ROOM - DAY ABBY: Gibbs! George Mansur - Lambert's ex-roomie? He's online! GIBBS: Where? ABBY: I back-traced his I.P. address to the Key Bridge Cybercafe in Georgetown! GIBBS: Tony. McGee. You're with me. Kate phones. Abby, keep tabs on Mansur's computer. KATE: But boy's night out. ABBY: Which means....girls night in! Transfer your phones to my lab. CUT TO: INT. GEORGETOWN STREET - DAY GEORGE: This isn't legal! Your guy is on my computer! TONY: It's not your computer. It's the cybercafe's. GEORGE: Yeah, well I'm logged in on it. He can see all of my trades. That's an invasion of my privacy! TONY: Actually, he's right, Boss. GIBBS: Uh-huh. GEORGE: Then... you'll let me go? GIBBS: No. GEORGE: (SHOUTS) Hel-! GIBBS: Don't.... shout. TONY: Federal agents. All's well. Go about your business. GIBBS: Where is your roomie? GEORGE: I don't have one. GIBBS: Ex-roomie. GEORGE: Dion? I don't know. I haven't seen him since I moved out two weeks ago. GIBBS: Why did you move? GEORGE: He bought the place. Didn't want a roommate anymore. GIBBS: You didn't file a change of address. GEORGE: I mailed it in yesterday. TONY: You and Dion partners? GEORGE: No. He works his own trades. GIBBS: A Petty Officer Second day trades in the market? GEORGE: Dion's sharp. Is that what this is about? His inside trading? GIBBS: Inside tradings? GEORGE: Had to be. He makes a lot more money than I do in the market. TONY: Drug market? GEORGE: Dion wasn't dealing drugs. I'd have known. GIBBS: Uh-huh. GEORGE: Well, if he was, I didn't know. I swear! GIBBS: Where is Dion now? GEORGE: I don't know. He's a workaholic. If he's not home, he's at his job.(SFX: CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. TONY: This is your car, right? Okay, you make a couple hundred grand a year and you drive this? GEORGE: I'm not a car guy. TONY: Don't you dig chicks? GIBBS: Get McGee and Abby to do what they do when they hook up. (SFX: TONY CHUCKLES) TONY: You meant their computers. GIBBS: Then you take him in. GEORGE: But I haven't done-- ! TONY: Shut up! Damn! So what's up? GIBBS: Lieutenant Cheney found Petty Officer Lambert. TONY: Where? GIBBS: In a ravine in Rock Creek Park. MUSICAL BRIDGE TO: EXT. ROCK CREEK PARK - NIGHT (CAMERA ANGLE CLOSE ON LAMBERT) (MUSIC OUT) FADE IN: EXT. ROCK CREEK PARK - NIGHT DUCKY: Is this the Petty Officer who faked his mrder, Jethro? GIBBS: Unless DNA says otherwise. DUCKY: Well, he's not faking now. GIBBS: The sh*t put one round into the back of his head. DUCKY: And his hair is brned. I'd say the muzzle was within two inches of his skull. CHENEY: Aaron Wright doesn't have the guts to pull a trigger looking you in the eyes. GIBBS: Well, neither does George Mansur. No, my gut's telling me that Ducky's about to eliminate him as a suspect. What time did our boy die, Duck? DUCKY: Patience, Jethro. Mister Palmer is at home with the flu so I'm my own assistant tonight. Judging by the ambient temperature, I'd say he expired between eighteen and twenty one hundred hours. How does that jive with your gut? GIBBS: Well, let us see. CUT TO: INT. OUTER LAB - NIGHT MCGEE: Oh wow. Mansur bought Argente Cosmetics two days before it jumped twenty eight points. ABBY: Must have been when the FDA approved androgen lipstick. It increases a woman's libido. (MCGEE LAUGHS) MCGEE: Viagra for women? ABBY: Why is that funny, McGee? MCGEE: It's not that it's funny. It's, you know, women... ABBY: Women don't need to be turned on before they perform? MCGEE: No, that's not what I mean, Abby. (SFX: PHONE RINGS) ABBY: (SHOUTS INTO PHONE) What!? CUT TO: INT. ROCK CREEK RAVINE - NIGHT GIBBS: Oh! (INTO PHONE) Yikes, Abby! What did McGee do this time?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) He put his size ten shoe in his size twelve mouth. GIBBS: (V.O./FILTERED) When did Mansur log on at the cybercafe? ABBY: (INTO PHONE) Sixteen fifty six. (SCENE CUT) ABBY: (V.O./FILTERED) Four minutes before the Tokyo market opened. (SCENE CUT) ABBY: (INTO PHONE) The longest trading gap was eight minutes until Neander-boy took over. GIBBS: (V.O./FILTERED) When you're done with Neander-boy.... (SCENE CUT) GIBBS: (V.O./FILTERED) ... Tell him to release Mansur. (SCENE CUT) ABBY: (INTO PHONE) That might be a while, Gibbs. (END TELEPHONE INTERCUTS) CUT TO: EXT. ROCK CREEK PARK - NIGHT MONTELEONE: Oh, no wait a minute. Wait a minute. No no no no. I've never paid for it in my life. KATE: Uh-huh. MONTELEONE: I was fifteen and my cousin Ansel paid Maggie O'Brien for the both of us so that doesn't count. KATE: Yes, it does, Tony. MONTELEONE: I'm Primo. KATE: Sorry. I can't tell you apart. Look at this. Someone's been chain smoking here. CUT TO: INT. AUTOPSY ROOM - NIGHT (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) GIBBS: Do you smoke, Aaron? AARON: All right, you got me. All right? I lit up in your elevator. What's the big... ah, geez! GIBBS: How's it going, Ducky? DUCKY: Slow without an assistant. Is this the kller? AARON: I didn't kll anybody. I don't even own a gn. DUCKY: Do you want to see what your bllet did? AARON: No. GIBBS: Did Aaron just acknowledge he sht him? CHENEY: Sounded that way to me. AARON: No, I don't want to see this. DUCKY: I can assure you it will be very instructional. Your slug penetrated the occipital lope instantly blinding the poor boy. Although death, of course, was so sudden I doubt that he'd notice it. It then entered the Corpus Callosum. AARON: Oh, god just stop. I've got to barf.(SFX: AARON VOMITS B.G.) DUCKY: In the Eighteenth century, the Corpus Callosum was believed to house the soul. It wasn't until the Mid-Twentieth century, actually, that scientists determined it's a thick bundle of nerve fibers to transfer information between the right and left hemispheres of the brain. CHENEY: Fascinating. AARON: I didn't kll Dion. GIBBS: Dion? CHENEY: Definitely someone he was on a first name basis with. AARON: Is that deal you offered still on the table? GIBBS: Hell no. AARON: I know who klled him. Do I get the deal? GIBBS: Not if it was you. AARON: I can live with that. I picked up the drugs from a blind mailbox. I sent the cash by return mail. The last shipment came in two days ago, and I dropped fifty grand in the mail that night. CHENEY: He made a million and got whacked waiting for fifty grand? AARON: You cops always inflate. They never made anywhere near a mil. GIBBS: They? AARON: Dion and his partner. CHENEY: What partner? AARON: I don't know his name. I only worked with Dion. Wait! Wait! Just hear me out please! All right, his partner is a computer geek where Dion works. He picked up on the scam and he thrat to report it unless Dion cut him in on half. Find the partner, you find his kller. CUT TO: INT. COMPUTER ROOM - DAY WILKERSON: (V.O.) I don't believe him. (ON CAMERA) If two of my people were ripping off the system, I should be fired for incompetence. GIBBS: They weren't both doing it. Petty Officer Wilson caught on to the scam. WILKERSON: Well, if he caught on I should have. GIBBS: They sat next to each other. WILKERSON: You're not very computer literate, are you, Jethro? (SFX: RAPID BEEP TONES) MCGEE: Boss! Boss! He's got a Trojan horse on Petty Officer Lambert's computer. You could access his programs. WILSON: I didn't insert that! TONY: Just once, boss, I wish one of these guys would say, "You got me. I did it." WILSON: McGee. MCGEE: Sorry, Man. WILSON: Ma'am, you know me. I love the Navy. I wouldn't steal from it! WILKERSON: I believe you, Niles. CUT TO: INT. LAB - DAY (MUSIC OVER ACTION) MCGEE: How could I have missed this yesterday? ABBY: No one gets everything right the first time, McGee. Except Gibbs. MCGEE: I just can't believe that Niles did it. ABBY: McGee, you're so... trusting. MCGEE: What's wrong with that? ABBY: Well, it's great in a relationship. Kind of sucks for an investigation. Oh, poor baby. CUT TO: INT. BASEMENT - DAY (SFX: WOOD PLANING B.G.) WILKERSON: Familiar with this new advance in technology called ... power tools? GIBBS: Close your eyes. (SFX: PLANING CONTINUES) GIBBS: Do you feel the wood? You don't get a sensation like that from a power tool. (WILKERSON LAUGHS) CUT TO: INT. LAB - DAY ABBY: Something is hinky here, McGee. These are the butts that Kate found at the crime scene. MCGEE: Looks like identical twins. ABBY: All from the same pack. Now these are Aaron Wright and Petty Officer Wilson's Triboros. MCGEE: Twins, but not identical because they came from different packs? ABBY: Correct. But not my point. MCGEE: The kller didn't smoke Triboros! ABBY: The butts that Kate found were Lamas. MCGEE: Okay, I gotta call Gibbs. You just proved that Petty Officer Wilson isn't the kller. ABBY: Or Aaron Wright. MCGEE: You ruled out both suspects. ABBY: No I didn't. Either one could still be the mrder. All I proved is that someone smoked Lamas at Rock Creek Park. CUT TO: INT. BASEMENT - DAY (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (INTO PHONE) Boss, I don't know if this is important or not. (SCENE CUT) GIBBS: (INTO PHONE) McGee, this had better be the most important phone call you ever made. Yeah. (SFX: WILKERSON POURS DRINKS) (GIBBS HANGS UP THE PHONE) WILKERSON: Everything all right? GIBBS: Yeah. WILKERSON: Come on. What's wrong? GIBBS: Your Petty Officer won't admit to any involvement. WILKERSON: I don't believe he was. GIBBS: Have you got a smoke? WILKERSON: Well that surprises me. GIBBS: Thank you. Ever been to Sicily? WILKERSON: Interesting segue. No. GIBBS: Capaci's a town outside of Palermo. In ninety one, there was a Mafia don sitting in a hillside orchard chain-smoking, watching the road below. Two cars in a tight formation came around the corner. The don ht a switch. The road exploded. It klled the chief magistrate prosecuting the Sicilian Mafia, his wife and three bodyguards. The Italian Caribinari found the cigarette butts in the orchard. Sent them to our FBI crime lab. They matched the DNA from the saliva on the filters to the don. It's the first time that DNA was ever used successfully to prosecute a kller. WILKERSON: You are a very strange man. GIBBS: Yeah. Yeah. It's about to get stranger. Karen, I hope that the DNA on this cigarette doesn't match the butts found where Dion was excuted. I really do. (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x12 - Doppelg\u00e4nger"}	foreverdreaming
MUSIC IN: INT. AUTOPSY ROOM - DAY (MUSIC OVER ACTION) DUCKY: Mister Palmer! Mister Palmer!(SFX: MUFFLED MUSIC B.G.) JIMMY: Yes, Doctor! DUCKY: As a serious and dedicated student of anatomy... you are a serious and dedicated student of anatomy, are you not? JIMMY: Uh-huh. DUCKY: Well then, Mister Palmer, are you up to the task of identifying the reconstructive blunder that has been foisted upon our deceased? JIMMY: Uh... uh... DUCKY: Would you call that a thumb? JIMMY: I would call that a toe. DUCKY: Why then, perchance, did you place it with the other digits from his right hand? JIMMY: Because that's where it belongs. If you look at the scar line, it matches perfectly. Plus his right foot had a cleanly amputated big toe. This guy lost his thumb in an accident or something and had surgery to replace it with the big toe. CUT TO: INT. COURTROOM - FLASHBACK (MONTAGE OF FLASHBACK COURTROOM SCENES) CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: My god. I think I know who this is. (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "THE MEAT PUZZLE"(SFX: KEYBOARDING B.G.) TONY: Mmm, I love Filomena's ice cream. KATE: Filomena's in Georgetown? TONY: My standard first date place. KATE: I went there on a first date Saturday night. TONY: Yeah? After dinner, I like to stroll the lucky lady down Wisconsin to this pretentious gallery called "Impressions." Boy, they really eat it up. KATE: That's where we went after dinner. TONY: Really? Huh. KATE: You've been following me. TONY: Me, follow you on a Saturday night? Not that desperate, Kate. KATE: I don't believe you. TONY: Well, on my mother's life I was not following you. GIBBS: Your mother's dad. TONY: I didn't follow her, boss. I do know her boyfriend, Steve Adler. KATE: He's not my boyfriend! I don't believe this. MCGEE: Did you tell her about your fraternity brother yet? TONY: I was just getting to the good part there, McGee. KATE: Steve Adler is your fraternity brother? TONY: I'd show you the secret handshake, (WHISPERS) but then I'd have to kll you. KATE: (WHISPERS) He told you about our date? TONY: Well, not the intimate details... until I asked him. Then he had to. (WHISPERS) It goes with the oath. KATE: Gibbs! GIBBS: DiNozzo! DUCKY: Jethro, I need you in autopsy. CUT TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN) DUCKY: What he had was a great toe transplantation. An incredibly arduous surgical procedure. Nerves smaller than a human hair are connected using microscopic sutures. GIBBS: They sewed his toe to his hand? DUCKY: Exactly. In a catastrophic injury when the thumb is lost, the patient's Hallux, or big toe, is removed and attached to the hand. JIMMY: The opposable thumb is one of the most important milestones in human evolution. It's what makes us, us. Our ability to make tools, a defining element which separates us from the animals, comes directly from this dexterity. DUCKY: Drawn out digressions is a privilege earned, Mister Palmer. JIMMY: Sorry, Doctor. DUCKY: If I'm right, the victim's name is Michael Grant. He was a Baltimore district attorney. Ten years ago I testified at several cases he was prosecuting. GIBBS: About the other bodies, Duck. DUCKY: Well, at this point I still have no idea who they are. GIBBS: We need positive I.D.'s, Duck. DUCKY: The flesh was peeled off the pads of the fingers. JIMMY: That rules out fingerprints. DUCKY: And the flesh and skin of the face has also been removed. So photographic identification won't be possible either. GIBBS: Dental? DUCKY: Unless we can find a piece of Michael Grant's DNA, the dental records will have to do. GIBBS: Do it.(SFX: DOORS SLIDE OPEN) DUCKY: Jethro, a barrel is left at Bethesda in my jurisdiction containing three dissected bodies, one of whom I knew. This isn't a coincidence, is it? (bat) I didn't think it was. (SIGHS) CUT TO: INT. SQUAD ROOM - DAY GIBBS: Possible ID on one of the Meat Puzzle bodies. A D.A. named Michael Grant. TONY: Hey cool! After six months, we finally got a lead, huh? GIBBS: Find out if he's been reported missing. Kate, pull the cases that Ducky testified where Michael Grant was the lead attorney. KATE: On it. TONY: Psst! Hey, it looks like we're going to work late. So do you want me to call Steven and cancel your dinner reservation? KATE: This is a nightmare. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: If you have a thought about continuing your genetic line, I would suggest a change of position. JIMMY: Oh. DUCKY: Jaws expand and contract, Mister Palmer. Teeth wear, but fillings, crowns, and bridges remain. DUCKY: Now let's see... four fillings on the lower left bicuspids. Crowns on the upper left molars. JIMMY: It's him. DUCKY: Yes, it's he. JIMMY: Doctor Mallard, on a more personal note. DUCKY: It's not the best time, Mister Palmer. JIMMY: I just want you to know that I am determined to learn from you. DUCKY: Your point quickly. JIMMY: Well, it's important for me to know that you know that even though there are nearly two thousand pieces of tissue on these tables, that I... DUCKY: Please come to the point, Jimmy! JIMMY: I know the difference between a thumb and a toe. DUCKY: Ah.(DUCKY WALKS O.S.) JIMMY: He called me Jimmy. CUT TO: INT. SQUAD ROOM - DAY TONY: Michael Grant disappeared eight months ago hiking the Appalachian Trail. His body was never found. Local LEOs could never determine if he got lost or klled. DUCKY: Definitely klled. The poor fellow was then dissected into small pieces, put in a barrel of alcohol along with two other bodies, and deposited in a dumpster behind Bethesda Naval Hospital. GIBBS: Dental records matched? DUCKY: I'm afraid so, Jethro. KATE: Ducky, remember a Judge Roland Davis? DUCKY: Of course. A man of small stature and enormous ego. A highly competent jurist, nonetheless. KATE: He was the judge on one of the two cases you testified, where Michael Grant was the lead attorney. DUCKY: The significance of that, Caitlin? KATE: He was reported missing seven months ago. DUCKY: I'll run a dental comparison -- the judge with the other two bodies. GIBBS: Pull up the case, Kate. DUCKY: Oh, yes. Of course. Who could forget him? Vincent Hanlan. A medical school washout. He was studying to become a... medical examiner. He was accused of raping and mrder a Navy Lieutenant who worked at Bethesda Hospital's pathology lab. DISSOLVE TO: INT. PATHOLOGY LAB - FLASHBACK DUCKY: (V.O.) I performed the autopsy. She was a beautiful girl. I believe her name was Lieutenant Sylvia... CUT TO: INT. SQUAD ROOM - DAY KATE: Sylvia Waksal. DUCKY: Yes, that's right. She was working late one night. Vincent Hanlan stalked her with the intention of raping her. The speculation was that he was unable to perform the rpe. CUT TO: INT. AUTOPSY ROOM - FLASHBACK DUCKY: (V.O.) His impotence so enraged him that he proceeded to bat the poor girl to death. CUT TO: INT. SQUAD ROOM - DAY DUCKY: When it went to trial... CUT TO: INT. COURTROOM - FLASHBACK DUCKY: (V.O.) ... Michael Grant was the prosecuting attorney. Judge Davis presided. And I testified. CUT TO: INT. SQUAD ROOM - DAY DUCKY: The evidence was all circumstantial. So when the judge offered the jury second degree mrder, they accepted it. KATE: Vincent Hanlan served eight years in the Maryland Correctional Adjustment Center. GIBBS: Kate, start building a profile on Vincent Hanlan. Tony... TONY: Find the whereabouts of everybody else associated with prosecuting Vincent Hanlan and fast. GIBBS: McGee, the last address for Vincent Hanlan. I want to bring him in. McGee! MCGEE: Uh... sorry, boss. I already found him. GIBBS: Give me the address. MCGEE: It's twenty two Victor Road, Mount Ephraim Cemetery. He's been dad over a year. (MUSIC UP AND OUT) MUSIC IN: INT. AUTOPSY ROOM - DAY DUCKY: Crown, crown, match, match, filling, filling, match. As we feared, the second corpse is Judge Roland Davis. GIBBS: Any guesses on number three here? TONY: Carl Foss. KATE: The jury foreman. DUCKY: Of course! TONY: Missing since last summer. KATE: His x-rays are on the way over from his family dentist. GIBBS: Are you okay, Duck? DUCKY: I assume this macabre play is being put on for my benefit. My testimony was key in putting Vincent Hanlan in prison. MUSICAL DISSOLVE TO: INT. AUTOPSY ROOM - FLASHBACK DUCKY: (V.O.) I was able to lift a partial print of Vincent's off her body. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Thinking back, I think I was slightly unnerved by Hanlan during the trial. KATE: How so? DISSOLVE TO: INT. AUTOPSY ROOM - FLASHBACK DUCKY: (V.O.) He just seemed particularly agitated when I was on the stand. CUT TO: INT. AUTOPSY ROOM - DAY KATE: You were the medical examiner he was never going to be. DUCKY: I was using his failure against him. GIBBS: You'll stay at NCIS as much as possible. Other than that, one of us will be with you at all times. DUCKY: Jethro, my mother is ninety-six years old. She suffers from dementia. She gets very nervous when I'm not home in the evenings. GIBBS: Tony, you'll take the first shift ... with his mother. TONY: Uh... doing what, boss? GIBBS: Whatever she wants. DUCKY: Yes, it would be helpful if you could assist with the dogs. TONY: Oh, gosh. I'm not really an animal person, Ducky. I just haven't spent a lot of time with them lately and... DUCKY: The yappy creatures are all she has in this life... except for me, of course. GIBBS: If Vincent Hanlan is dad, who is getting revenge? KATE: His family? GIBBS: Find them, Kate. CUT TO: INT. SQUAD ROOM - DAY KATE: According to their tax returns, Vincent Hanlan's parents are both morticians. They've run a funeral home for the last thirteen years. GIBBS: Siblings. KATE: One brother who's a taxidermist. GIBBS: Mortician, taxidermist, wannabe medical examiner. KATE: Yeah, the death obsession pretty much runs in the family. MUSICAL BRIDGE TO: INT. FUNERAL HOME - DAY FRED: Vincent's conviction tore the family apart. His death pretty much put us under. Through here. CUT TO: INT. EMBALMING ROOM - DAY (DOOR OPENS) FRED: Mary. MARY HANLAN: Get these people out of here! FRED: They're federal agents. MARY HANLAN: I don't care! FRED: They're here about Vincent. MARY HANLAN: They're not authorized! Get out! GIBBS: Individuals connected with Vincent's prosecution have been found mrder. MARY HANLAN: Good. KATE: Good? MARY HANLAN: Vincent was innocent. He was a good boy. He was in medical school. GIBBS: Jack the Ripper went to medical school. MARY HANLAN: When my son got out of prison, he had nothing left. No hope. No promise. They labeled him a sex mrder. KATE: What was he doing when he got out of prison? FRED: He was drinking a lot. MARY HANLAN: Oh, that's all you have to say about your dad son!? FRED: That isn't what I meant. I was trying to explain how difficult his life was. GIBBS: What happened the night he died? FRED: He was driving with his brother and they ht a tree. KATE: Can you think of anyone who would want to get revenge on the men who put your son in jail? MARY HANLAN: Me! But I don't know anything about it, so why don't you just get the hell out of here before I call the authorities and have you arrested and maybe you'll go to prison! Bastards! CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Two bridges, ten crowns, seven fillings. Not exactly a paragon of oral hygiene, my dear fellow. JIMMY: Is he Carl Foss? DUCKY: Was there ever any doubt? Well, that's all three... prosecutor, judge, and now foreman of the jury. JIMMY: Are you scared, Doctor Mallard? DUCKY: Madame Curie, one of the world's most brilliant thinkers, once said, "There is nothing in life to be feared. It is only to be understood." I think it's safe to say that Madame Curie never set her eyes on a meat puzzle. Yes, I'm scared. Scared as hell. Put them away, Jimmy. They're tired of talking. They need to rest. (DOOR OPENS/ CLOSES) JIMMY: Yes, doctor. CUT TO: EXT. MALLARD HOME - DAY VICTORIA (V.O.)Keep it down --(KNOCK ON DOOR) (SFX: DOGS BARKING) (DOOR OPENS) VICTORIA: Yes? TONY: I'm Anthony DiNozzo, Mrs. Mallard. I work with your son. He called, said I'd be coming over. VICTORIA: You're Italian! TONY: Yes, I am. VICTORIA: You're a gigolo. TONY: Ah... well, I wouldn't exactly call-- VICTORIA: You move furniture. TONY: I could. VICTORIA: I have a commode that has no business being here. It belongs in the lounge. I've told Donald this. He never listens. TONY: I understand. Okay. If you'll just show me where you want the -- (SFX: DOGS GROWL) VICTORIA: Who are you? TONY: Anthony DiNozzo. Everyone calls me Tony. VICTORIA: That's an Italian name. TONY: Yes, it is. So if you'll just show me where ... VICTORIA: Oh... gigolo. If you look down my blouse, I shall disembowel you! TONY: (LAUGHS) That's funny. VICTORIA: I have a Knfe in my brassiere. TONY: I'll keep that in mind. VICTORIA: Good! Who are you again? CUT TO: INT. HANLAN'S WORKSHOP - DAY JONATHAN: Couldn't there be another case where these men worked together? GIBBS: I haven't found one. KATE: Your brother's case is the common link. JONATHAN: I would love to have stuffed Vincent. (CHUCKLES) He would've liked that. He had a good sense of humor, Vincent did. But it's against state law. Oh! Best mammal at the regionals last year. Like anything else, you get obsessed. Becomes a way of life. KATE: I thought pandas were endangered? JONATHAN: Oh, they are. "Re-Creation Category." I took two black bears and bleached one. And then I sewed them together in a panda pattern. GIBBS: Do you miss your brother? JONATHAN: He's my brother. GIBBS: Did you two get along? JONATHAN: When he got out of prison, he was depressed. He couldn't go back to school. He couldn't get a job. He started drinking heavily. GIBBS: You didn't answer my question. JONATHAN: We were close. And I have no idea who klled the men that put him in jail. KATE: What happened the night he died? JONATHAN: Vincent was driving. He lost control. We went off the road into the woods. My head ht the dash hard. I stumbled out of the car. I fell to my knees. When I got my bearings, I saw the car was on fre. KATE: Do you feel guilty you didn't pull him out? JONATHAN: I was told he died instantly from the impact. That he never felt the flames. I think he felt the flames. Oh! Second place, Nationals. Small animal division. African civet. (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (INTO) Boss, I've been running down other people involved in the Vincent Hanlan case. I've got something good. (SCENE CUT) GIBBS: (INTO PHONE) Spit it out, McGee. MCGEE: (V.O./FILTERED) The lead Detective in the Hanlan ... (SCENE CUT) MCGEE: (INTO PHONE) ...Case was a Baltimore officer named Marco Cesaretti. He retired in ninety six. Missed his last rent payment. Nobody's seen him in three weeks. (END TELEPHONE INTERCUTS) CUT TO: INT. MALLARD HOME - DAY TONY: Where do you need this? Oh, God. Mrs. Mallard? Mrs. Mallard!? VICTORIA: Who are you!? And where are you going with my commode! TONY: I'm your son's co-worker. Remember? Tony DiNozzo, the Italian gigolo furniture mover. (SFX: DOOR BELL RINGS) (SFX: DOGS BARK) TONY: No! (VICTORIA SHOUTS/Knfe FALLS TO THE GROUND) TONY: I'm a Federal Agent, Ma'am. VICTORIA: That's what they all say. (SFX: DOORBELL RINGS) TONY: Will you please go stand over there? Now! And keep the girls and boys in the other room. VICTORIA: Stay. Quiet down. TONY: What is it? DELIVERY MAN: Delivery! TONY: What kind of delivery? DELIVERY MAN: I don't know, Sir. It just says perishable. (DOOR OPENS) DELIVERY MAN: Hi. TONY: Step back, please! Step back! DELIVERY MAN: Okay! TONY: Thank you. (MUSIC UP AND OUT) MUSIC IN: EXT. MALLARD HOME - DAY (PHOTO FLASHES) DUCKY: Victim number four, Jethro. The size of the pieces, the cuts, are all consistent with the bodies of the D.A., the judge and the foreman. GIBBS: The homicide detective completes the team. DUCKY: You're forgetting the Medical Examiner, Jethro, whose testimony put Vincent Hanlan behind bars. JIMMY: That's you! DUCKY: Very good, Mister Palmer. He's saving the best for last. GIBBS: It's not going to happen, Duck. MCGEE: Boss. DUCKY: You may load it, Mister Palmer. JIMMY: Right. Should I...uh... roll it? DUCKY: Well, one could do that, but I think it might be easier if you used the hand trolley. JIMMY: Oh, oh, of course. I was so distracted by its contents, I didn't notice it. DELIVERY MAN: Here. Let me help you with this. MCGEE: The guy, who works for an independent delivery service downtown, picked up the barrel from a new client on Twenty-seventh Street. That's the order. GIBBS: Universal Scrap Metal. MCGEE: The owner called it in. The print's kind of small. Even I had trouble reading it. GIBBS: Print's fine, McGee. Jeffrey... Jeffrey Winston. MCGEE: Actually, it's Jeffrey Wilson. But you're very close, Boss. GIBBS: Are you sure it's Wilson? CUT TO: INT. PORCH - DAY KATE: Gibbs is right. Whoever he is, he's not going to get you. DUCKY: There is only one thing better than looking into the eyes of a beautiful woman and have her say that everything is going to be all right. KATE: And what's that, Ducky? DUCKY: My saying it to her. JIMMY: All loaded, Doctor! GIBBS: You stick to him like... KATE: Glue. GIBBS: An ex-wife after an alimony check. KATE: (LAUGHS) Gibbs, what did Ducky look like when he was younger? GIBBS: Ilya Kuryakin. (TONY LAUGHS) TONY: The sweet smell of freedom! GIBBS: Mrs. Mallard? TONY: Sleeping. Her usual afternoon fistful of Wild Turkey. Her last words to me were either "I'm going to slit your throat" or "kiss your moat." I couldn't tell because she was slurring. GIBBS: That's good work, Tony. TONY: Thank you, boss. So who's taking over for me now? GIBBS: Kate's on protection detail with Ducky. TONY: Yeah. GIBBS: McGee's going with me to interview the guy who delivered the barrel. TONY: Yeah. GIBBS: I guess that leaves you. TONY: Me? Boss, I just spent all day playing furniture mover for this slightly demented old lady and her pack of yapping hounds. GIBBS: They're not hounds, DiNozzo. They're Corgis! TONY: No, Boss! No, Boss! I'm on the verge, man! McGee? (SFX: CAR STARTS) TONY: (SHOUTS) Boss, I'm going to go postal! I'm not kidding! I'm this close! (SFX: DOGS BARK) TONY: Here's Tony! Come on. Here you go. Guys, come on. We've got treats in the house. In the house! We've got treats. Good boy, Tyson. CUT TO: EXT. SCRAP YARD - DAY WILSON: Are you going to badge me? That's what they say on T.V. GIBBS: NCIS. Naval Criminal Investigative Service. WILSON: I know what it stands for. I wasn't always in the junk business. U.S.S. Forestal. Machinist's Mate First Class. GIBBS: Are you Jeffrey Wilson? WILSON: This is about that barrel, ain't it? I knew that deal was too good. GIBBS: Tell us about that. WILSON: Well, this dude comes in. He buys a few of those. GIBBS: Where'd you get them? WILSON: Back of plants, factories. They don't want 'em. I clean 'em up, resell 'em. GIBBS: Okay. Go on. WILSON: Well, the dude brings one of them back. It's got some kind of liquid in it 'cause I can hear it sloshing around. So first I thought it might be some stuff to make meth. He offers me two hundred bucks to messenger it someplace in Reston. MCGEE: Probably didn't give his real name. WILSON: No name, no address. He didn't tell me what was in it. And I didn't ask. GIBBS: I need you to come by the Navy Yard, sit down and describe him to a sketch artist. WILSON: Won't do no good. Dude always wore a hooded sweatshirt and shades. He could've been Elvis. What was in that barrel anyway? GIBBS: A meat puzzle. CUT TO: INT. NCIS LAB - DAY (MUSIC PLAYS B.G.) ABBY: Oh! Gibbs, you scared me. GIBBS: Come on, Abs. You sleep in a casket dressed in a funeral gown. ABBY: I don't always wear the gown. GIBBS: Too much information. What do we got here? ABBY: Straight to the point. That's our Gibbs. Okay, bottom line. The sicko that's klling everyone that sent Vincent Hanlan to jail is definitely not Vincent Hanlan. ABBY: Before Ducky went to see his mom, he checked the dental x-rays with those from the Maryland Correctional Adjustment Center. GIBBS: Vincent Hanlan is in the casket. ABBY: Every last inch of what is probably very rotting flesh at this point. GIBBS: What about a DNA testing? ABBY: Maryland incinerates all biological evidence three years after sentencing. GIBBS: Okay, find an earlier x-ray. Before he went to prison. ABBY: Before? Before. CUT TO: INT. MALLARD HOME - DAY (DOOR OPENS) DUCKY: Mother, I'm home! KATE: Your dogs. DUCKY: Not just dogs, Kate. Welsh Corgis. In Wales the Corgi was the protector of the farmer. Now they protect my mother. That's Tyson. KATE: Because he thinks he's a boxer? DUCKY: No, because he bites. The bedrooms are upstairs, of course. Mine's there. You could use the guest room. KATE: I won't be sleeping, Ducky. DUCKY: Of course. KATE: Where's your mother's room? DUCKY: Oh, she sleeps down here now. KATE: It must be difficult for her to get up the stairs at her age. DUCKY: It has nothing to do with stairs, Caitlyn. Her snoring is deafening. She kept me awake all night. She'll keep you awake, too. Hello. CUT TO: INT. DINING ROOM - DAY (SFX: HAIRDRYER B.G.) DUCKY: Hello?(DOOR OPENS) VICTORIA: There you are, Contessa. You're beautiful. (SFX: KATE LAUGHS) KATE: Oh Tony, you finally found your true calling. DUCKY: Mother, may I present Caitlyn. She works with Tony and me. (SFX: VICTORIA SPITS) DUCKY: Mother! We talked about this! Caitlyn is here to protect us. VICTORIA: Show me your knickers. KATE: Um... Ma'am? VICTORIA: Your underwear, missy. One can always tell a woman's intention from her panties. TONY: That's always been my philosophy. DUCKY: I do apologize. Come along, Mother! Time to get dinner ready. VICTORIA: Haven't I had dinner? DUCKY: No you haven't. VICTORIA: Well, use butter tonight. You always use bacon fat. DUCKY: I use canola oil. VICTORIA: I can tell that, too. TONY: Sometimes older people can make so much sense. KATE: You're relieved, Tony. TONY: Oh, god. Okay, this is Contessa. She likes it rough. KATE: Good night, Tony. TONY: Yeah, look at the time. I've got to meet Steven for a beer. Hate to be late. So much to catch up on. CUT TO: INT. SQUAD ROOM - DAY (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. CUT TO: INT. LAB - DAY ABBY: (INTO PHONE) Vincent Hanlan's dental x-rays just arrived from medical school. CUT TO: INT. SQUAD ROOM - DAY GIBBS: McGee, you're with me. Come on. CUT TO: INT. AUTOPSY ROOM - DAY JIMMY: These x-rays were taken at Vincent Hanlan's autopsy. And these were eleven years ago in medical school. And if you look closely, you can see a perceptible difference due to molar wear, which is highly unusual given the short span of years, at least in modern man. In Neolithic man, who used to gnaw a lot of bones, you know, it could incur these kinds of... GIBBS: Are you telling me these x-rays match? JIMMY: I'm afraid so. The fillings in the upper third molar and second bicuspid are identical, as are the shape of the teeth. GIBBS: He gnaws on bones like a caveman? JIMMY: I can't explain that. MCGEE: He grinds his teeth, boss. I did it as a kid in my sleep. Had to wear a special retainer at night. ABBY: You still should. GIBBS: I want Vincent Hanlan's body exhumed. JIMMY: Why? I'm sorry. I didn't mean to say that, Sir. It just... it just spewed out. GIBBS: Abby, call Mount Ephraim Cemetery. McGee, you're with me. You dig up that body! ABBY: Love to! JIMMY: He's supposed to get a judge's authorization. He didn't even give us a reason why! ABBY: Well, obviously Gibbs doesn't think that Hanlan is dad. JIMMY: He is dad. Dental x-rays don't lie. ABBY: Well, either Gibbs is wrong or Hanlan is one of the dad that still walks at night. JIMMY: Okay, well then Gibbs is wrong. Isn't he? CUT TO: INT. LIVING ROOM - NIGHT (SFX: DOG BARKS O.S.) (MUSIC OVER ACTION/KATE WALKS THROUGH THE HOUSE) CUT TO: EXT. YARD - NIGHT KATE: Mrs. Mallard? Mrs. Mallard.(SFX: DOG CONTINUES BARKING B.G.) VICTORIA: Sneaking off after having your fun. Just as I knew you would. KATE: No, it's not like that, Mrs. Mallard. Now please, I need you to take your dog and go back inside. VICTORIA: That's not my dog. KATE: Of course it's yours. Now, please, Mrs. Mallard! VICTORIA: I've never seen that dog before in my life. I only have Corgis. KATE: Get back inside now! CUT TO: INT. MALLARD HOME - NIGHT KATE: (SHOUTS) Ducky! Ducky! CUT TO: EXT. HOUSE - NIGHT (KATE RUNS FROM THE HOUSE) (SFX: CAR DOOR CLOSES) (SFX: CAR TIRES SCREECH) KATE: (SHOUTS) Ducky! (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - DAY KATE: Gibbs, I'm sorry. GIBBS: It's my fault. Two agents... KATE: Excuse me? GIBBS: Two protectees. I should have had two agents. You were as responsible for the mother as you were for Ducky. (SFX: DOORS SLIDE OPEN) TONY: Boss! Abby says the tire tracks from the van were made from Uniroyal Laredos. They're standard on Chevy Express cargo vans. MCGEE: Both the funeral home and the taxidermy business own Chevrolet Express Cargo vans. GIBBS: That's good enough for a search authorization. TONY: On it. GIBBS: Tony, you and Kate take the turkey stuffing brother. McGee, come on. You're with me. CUT TO: INT. FUNERAL HOME - DAY MARY HANLAN: You have no right to invde my home and my business. MCGEE: Actually, that search warrant says we do, Ma'am. MARY HANLAN: Don't Ma'am me you simpering wimp! MCGEE: No, Ma'am. GIBBS: Unlock this door. MCGEE: Ma'am, if you impede our search in any way, you will be charged with obstruction. GIBBS: That's not the way to do this. I have the right to break down that door, and anything in my way. CUT TO: INT. CREMATORIUM - DAY MARY HANLAN: Are you satisfied? GIBBS: No. McGee, take a scraping from inside. One son beats a young woman to death, the other one plays with dad animals. I wonder where they get that. MARY HANLAN: From their mother. CUT TO: INT. AUTOPSY ROOM - DAY JIMMY: Same teeth. Vincent Hanlan's corpse matches his autopsy x-rays. ABBY: Teeth don't lie, Jimmy. (bat) What? JIMMY: Do you think... you could get a blood type from the nerve tissue in this tooth? ABBY: If I can rehydrate it. What are you thinking? JIMMY: I'm thinking something crazy, Abby. ABBY: Crazy is good. MUSICAL BRIDGE TO: INT. COFFIN STORAGE ROOM - DAY (SFX: SCREW gn B.G.) MCGEE: It's heavier. Definitely something in this one. MARY HANLAN: Mister Goldberg. He's being buried in the morning. GIBBS: Check underneath Mister Goldberg. (MUSIC OVER ACTION/MCGEE SEARCHES THE CASKET) MCGEE: There's nothing. MARY HANLAN: I'll inform the Goldbergs their grandfather was frisked by NCIS in his coffin. They're litigators. CUT TO: EXT. FUNERAL HOME - DAY (MUSIC OVER ACTION/TRUCK PULLS AWAY FROM THE HOME) CUT TO: INT. FUNERAL HOME - DAY MCGEE: Boss, the van is on the way to the garage for forensics. What next? MARY HANLAN: Why don't you just admit that you made a mistake and get the hell out of here. (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) TONY: (INTO PHONE) No joy, Boss. We've looked under every furry creature and inside a couple. Ducky's not here. (SCENE CUT) GIBBS: (INTO PHONE) Yeah, I knew you'd find something, DiNozzo. That's good work, Tony. You bring him in for interrogation. (SCENE CUT) TONY: (INTO PHONE) Did you hear what I said, Boss? (SCENE CUT) GIBBS: (INTO PHONE) Yeah! Yeah, I heard you. (CHUCKLES) Let's go, McGee.(END TELEPHONE INTERCUTS) MCGEE: What'd they find? (DOOR OPENS/CLOSES) FRED: Jonathan called. They're searching his shop, too. MARY HANLAN: What do they think, he's stuffed their precious doctor? FRED: Mary, we should do something to prevent... MARY HANLAN: Fred... Fred. Shh... shh... shh. Don't start thinking now. You're far too old for that. CUT TO: INT. INTERROGATION ROOM - DAY JONATHAN: I already told you. GIBBS: Tell me again. JONATHAN: We crashed into a tree. GIBBS: Vincent was driving? JONATHAN: Yes. GIBBS: You jumped out of the car? JONATHAN: That's right. GIBBS: You didn't even attempt to help your brother? JONATHAN: The car was on fre. I was in a daze. GIBBS: But you didn't even try. JONATHAN: It was too hot! There was no way I could get to him. GIBBS: What did your mother think about that? JONATHAN: I wouldn't know. We don't talk. We haven't spoken since that night. GIBBS: Yeah? Why is that? JONATHAN: He was her favorite. GIBBS: She blames you for his death. If my friend dies, I'll blame you, too. KATE: (V.O./FILTERED) Gibbs, Jimmy Palmer .... CUT TO: INT. OBSERVATION ROOM - DAY KATE: ...and Abby need to see you. (DOOR OPENS) JIMMY: I pulled one of Vincent Hanlan's teeth and gave it to Abby. ABBY: We did a blood analysis of the nerve tissue and compared it to the blood type of the tissue from the corpse. ABBY AND JIMMY: (IN UNISON) They didn't match. JIMMY: These are Vincent Hanlan's teeth, but they were put into this jaw. This body is not Vincent Hanlan's. ABBY: I did a gas chromatograph and I found traces of Cyanoacrylate on the bottom of the-- GIBBS: In a language I speak, Abby. ABBY: There is Super Glue on the root of the tooth. JIMMY: Just a drop. It would never show up on an x-ray. KATE: So the teeth were pulled from Vincent's mouth? JIMMY: One by one. And then they were glued back into this jaw. CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: hm* sapien. Reconstruction category. Someone took your brother's teeth and put them in that skull. JONATHAN: It wasn't me. It was them. It's always them. GIBBS: Your mother and Vincent? JONATHAN: Vincent was drunk the night he slammed into that tree. We got out just before it burst into flames. When we got home, Mother had a car crash body laid out on the embalming table. Closed-casket job. She came up with the idea of giving Vincent a new life. CUT TO: INT. OBSERVATION ROOM - DAY TONY: He's got to be telling the truth. KATE: Why? TONY: Who would make that up? JONATHAN: (MUFFLED) After she extracted Vincent's teeth and put them in the car-crash body... CUT TO: INT. INTERROGATION ROOM - DAY JONATHAN: She burnt the corpse beyond recognition. GIBBS: Where is Vincent? JONATHAN: (CRYING) With Mother. He's always with Mother. GIBBS: We already searched the funeral home. JONATHAN: Look harder! GIBBS: Is Doctor Mallard there? JONATHAN: Probably. GIBBS: They don't keep you informed? JONATHAN: They have lots of secrets. Terrible secrets with each other. GIBBS: You call your mother, Jonathan. You tell her we've released you. You tell her that everything is okay now, that we had run into a dad end. You convince her, Jonathan. If you don't, I will tear every tooth out of your skull! MUSICAL BRIDGE TO: INT. STORAGE ROOM - NIGHT (DOOR OPENS) MUSICAL BRIDGE TO: EXT. FUNERAL HOME - DAY GIBBS: I got a light. TONY: Let's go. GIBBS: Wait. TONY: For what? GIBBS: Let them get Ducky out of wherever they've been hiding him. TONY: Now? GIBBS: Not yet. Okay, get into positions. CUT TO: INT. EMBALMING ROOM - NIGHT VINCENT: It'll only take four minutes to drain your blood. Versus eight years in the same cell, twenty four hours a day. MARY HANLAN: He's getting off easy, Angel. (SFX: DUCKY'S MUFFLED CRIES B.G.) CUT TO: INT. FUNERAL HOME - NIGHT (MUSIC OVER ACTION/DOOR CRASHES OPEN) CUT TO: INT. HALLWAY - NIGHT GIBBS: Where are they? MCGEE: Turn around! Hands out! He's clean. CUT TO: INT. EMBALMING ROOM - DAY (DOOR OPENS) GIBBS: Get back! (SFX: MUFFLED DUCKY CRIES CONTINUE) GIBBS: Move back or you're dad! Tony? DUCKY: My hands. Release my hands! Get me something to stop the bleeding! KATE: Hands in the air! VINCENT: I can't go back there. MARY HANLAN: Just do what they say, Vincent. GIBBS: Turn around! Face the wall! MARY HANLAN: Just do it. VINCENT: I love you, Mother, but I can't do this again! MARY HANLAN: (SCREAMS) No! No! My god, no! Oh my god no! No god, they k*lled my son! KATE: Come on, let's go!(MARY SOBS HYSTERICALLY) DUCKY: You're the one that got off easy, my boy. What kept you? CUT TO: INT. SQUAD ROOM - NIGHT TONY: The mother finally give a statement? GIBBS: Yeah, short one. Two words. TONY: So, you seeing my frat brother tonight? KATE: As a matter of fact, I am. Steven feels bad. Said he'd like to make it up to me. TONY: How's he going to do that? KATE: By telling me things about you. TONY: Never gonna happen. The Fraternal oath is sacred. KATE: Some things are even more sacred, Tony. (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x13 - The Meat Puzzle"}	foreverdreaming
MUSIC IN: INT. LIVING ROOM - NIGHT (MUSIC PLAYS B.G.) (SFX: ERIN DRINKS) (MUSIC OVER ACTION/ERIN FILMS FROM THE WINDOW) ERIN: Come on! (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "WITNESS" TONY: I always get that confused. DAVID: No. No, it's simple. If the groundhog sees his shadow, six more weeks of winter. If he doesn't, spring's right around the corner. TONY: Are you sure that it's not the other way around? DAVID: Trust me. I know what I'm talking about. See you later. (SFX: DOORS SLIDE OPEN) TONY: Thanks. KATE: (INTO PHONE) All right, Thursday eleven a.m. VOICE: (V.O./FILTERED) Sharp. KATE: (INTO PHONE) I'll be there. Oh, I promise. MCGEE: Are you okay? KATE: Yeah. No. I hate going to the dentist. I've had a phobia since I was a child and now I need a root canal. MCGEE: Oh, that doesn't sound like fun. KATE: No, I've cancelled my appointment three times. TONY: What's not fun? KATE: Nothing. TONY: Who's Doctor Jackson? KATE: You read that upside down? TONY: A talent that serves me well. What's wrong with you? MCGEE: Well, he's a dentist. TONY: Ooh, and our Ms. Todd is afraid of dentists. KATE: Who told you that? TONY: Ethically, I can't reveal my source. It's the same person who told me Probie wasn't potty-trained until he was six. GIBBS: Get the sedan, McGee. MCGEE: Where are we going, boss? GIBBS: Not we. You. Apartment building in Georgetown. A woman reported seeing a sailor being strangled. MCGEE: Me? Alone? GIBBS: Metro police don't think it's anything, but the woman's insistent. MCGEE: What do you want me to do? GIBBS: Investigate, McGee. It's what we do. If there's anything, call in. MCGEE: Right. TONY: Our little boy's growing up. MCGEE: Cut it out, DiNozzo. KATE: It's a vote of confidence. MCGEE: Really? You think so? TONY: It's a test. KATE: Don't listen to him.(MCGEE WALKS O.S.) (TONY CHUCKLES) CUT TO: EXT. STREET - DAY (CAR DOOR CLOSES) (MUSIC OVER ACTION) MCGEE: Excuse me, Sir. FLOYD: Yeah? MCGEE: NCIS. Special Agent McGee. FLOYD: So you're what they sent me. Geez, I'm feeling old. (INTO RADIO) NCIS is here. Say goodbye to little lady. MCGEE: So what have you got? FLOYD: There's no need to write it down, kid. The woman up there said that she saw a sailor being strangled across the way. Never happened. MCGEE: You checked it out? FLOYD: Yeah, the apartment manager let us in. No sign of struggle and nobody was even there. No forcible entry. The neighbors didn't see or hear anything. MCGEE: So why did you call us? FLOYD: She wouldn't let it go. I think she was up a little bit too late. Had a little too much to drink, you know? Look, I've got some other real cases to investigate. Her name is Erin Kendall. Apartment Two-B. Make sure you ask her to show you the video. (CHUCKLES) CUT TO: INT. ERIN'S APARTMENT - DAY (KNOCK ON DOOR) (DOOR OPENS) ERIN: Hi. MCGEE: Hi. ERIN: You're the cop from NCIS? MCGEE: Special Agent McGee. ERIN: Come on in. Maybe I can get somewhere with you. (DOOR CLOSES) CUT TO: INT. ERIN'S BEDROOM - DAY ERIN: Well, by the time I started to record, they were gone. And yes, I'd had a few glasses of wine, but I saw a sailor being strangled. MCGEE: Are you sure it was a sailor? ERIN: Yes! He was wearing service dress blues. I work for D.O.D. I know military uniforms. MCGEE: (READS) "Infinite-Dimensional hm Algebra for Binary Systems." You read this? ERIN: Oh yeah, I had the author, Sidnitski, in graduate school. MCGEE: You went to M.I.T? ERIN: Yes. MCGEE: Me, too! CUT TO: INT. SQUAD ROOM - DAY GIBBS: A root canal? KATE: I have an appointment with a dentist in the morning. GIBBS: Are you going to keep it this time? (GIBBS WALKS O.S.) TONY: I can help you. I have a friend who had a fear of flying. He was cured by a hypnotist. KATE: A hypnotist? I don't think so. (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (INTO PHONE) Boss, it's McGee. GIBBS: (V.O./FILTERED) Yeah? MCGEE: (INTO PHONE) I think there may be something here. GIBBS: (V.O./FILTERED) You think? MCGEE: (INTO PHONE) Well.... GIBBS: (V.O./FILTERED) Do we roll... (SCENE CUT) GIBBS: (INTO PHONE) ... Or not, McGee? (SCENE CUT) MCGEE: (INTO PHONE) Roll, Boss.(END TELEPHONE INTERCUTS) CUT TO: INT. SQUAD ROOM - DAY GIBBS: DiNozzo, get the truck. CUT TO: EXT. APARTMENT - DAY TONY: Ah, is that the witness? MCGEE: Yeah, Tony. GIBBS: Crime scene? MCGEE: Ah, second floor of this apartment building here. Occupant is a civilian named Thorne. Robert J. He's not at home. GIBBS: Let's check it out. TONY: I hope you have more to go on than her sweet smile. CUT TO: INT. APARTMENT - DAY JEREMY: The police already checked this out. Thorne's one of my best tenants. I don't want to lose him. Is this going to take you guys long? I've got a meeting with my doctoral committee. GIBBS: When was the last time you saw Mister Thorne? JEREMY: I don't know. About a week ago? He travels a lot. GIBBS: We can let ourselves out. (DOOR CLOSES) GIBBS: You made the call. What were you basing your decision on? MCGEE: The credibility of the witness. M.I.T. graduate. Phi Beta Kappa. She builds computer models for D.O.D. TONY: We've all seen the credentials. GIBBS: That's it? MCGEE: No. No, to get a closer look at the asault, Erin used a camcorder with a two hundred to one zoom lens. GIBBS: Let's see the video. MCGEE: Well, she didn't actually start recording until after the men had moved away from the window. But it does show that the lights were on. When Metro Police got here, they were off. TONY: That would do it for me. MCGEE: Boss? The truth? GIBBS: That would be good. MCGEE: There's one thing I've learned from you. It's that sometimes an agent has to go with their gut. GIBBS: Okay. What would you do now, McGee? KATE: I'll dust for prints. TONY: I'll sht. GIBBS: We're not going to spend a lot of time on this. CUT TO: INT. NCIS LAB - DAY ABBY: I can't work like this, McGee. Get off my back! MCGEE: Sorry. It's just everything is riding on you finding something that places a sailor in that apartment. ABBY: I wish I were a magician. MCGEE: DiNozzo says the boss is testing me. ABBY: DiNozzo says a lot of things. Actually, this time he's probably right. Gibbs tested me. MCGEE: Really? ABBY: Yeah. MCGEE: What happened? ABBY: Nothing. I passed. Your problem is the crime scene, if it really is a crime scene. It's too clean. It didn't produce any quality prints. MCGEE: Abby, it is a crime scene. ABBY: Then it is. Now get out of here and let me finish my work. MCGEE: Thank you, Abs. CUT TO: INT. SQUAD ROOM - DAY TONY: Photos from the scene of the crime. Annual performance reviews are next week. KATE: Two sailors in the National Capitol Region were reported UA today. One female. I'm getting the particulars on the other. (SFX: PHONE RINGS) MCGEE: (INTO PHONE) McGee. ABBY: (V.O./FILTERED) Good news, I think! MCGEE: (INTO PHONE) Did you get a match? GIBBS: (V.O.) Put her on the speaker. ABBY: (V.O./FILTERED) I ran the only clean prints...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) ... from the apartment through AFIS. It belongs to (V.O.) Petty Officer First Class Keith Dillon, USN. (END TELEPHONE INTERCUTS) CUT TO: INT. SQUAD ROOM - DAY GIBBS: Is he your missing sailor, Kate? KATE: Dillon, comma, Keith. Sure is. MCGEE: Boss! Boss, Erin was right. GIBBS: What does that mean, McGee? MCGEE: Well, she wasn't imagining it. GIBBS: It also means a sailor may be dad. (MUSIC OUT) FADE IN: INT. NCIS SQUAD ROOM - DAY KATE: Keith Dillon. Thirty two. Single. Never married. Lives in Anacostia. Assigned to Pax River. GIBBS: What's he do? KATE: Motor pool. Driver. TONY: I talked to Dillon's C.O. He's still a no-show. GIBBS: We're going back to Thorne's apartment. MCGEE: I'll get the truck. (bat) Uh... you did want me to get the truck, yes? MUSICAL BRIDGE TO: INT. THORNE'S APARTMENT - DAY TONY: I'm going to enjoy this. ERIN: (V.O.) The attacker's back was to me most of the time. TONY: Like this? CUT TO: EXT. APARTMENT WINDOW - DAY ERIN: (INTO RADIO) Yeah. And then he pulled the sailor off to your right. TONY: (V.O./FILTERED) Gosh, I can't tell you how many times I've thought of doing this. CUT TO: INT. THORNE'S APARTMENT KATE: I dare you, DiNozzo. TONY: Oh, yeah? (BEGIN MUSIC OVER ACTION/ MOCK STRANGULATION) (SFX: TONY AND KATE STRUGGLE B.G.) ERIN: That's just what it looked like. (SFX: KATE AND TONY CONTINUE TO STRUGGLE) (SFX: TONY MOANS) KATE: There are so many things I could say right now. CUT TO: EXT. APARTMENT - DAY TONY: (INTO RADIO) Probie... (FILTERED) get the A.L.S. up here. CUT TO: INT. APARTMENT - DAY (SFX: CURTAINS CLOSE) TONY: Yeah, it's urine. MCGEE: Boss, tenant does not appear to have a pet. GIBBS: Have Abby do a DNA analysis. In the meantime, we go over this place top to bottom. MCGEE: I'll get the equipment. (DOOR OPENS) KATE: Excuse me. GIBBS: I want all the information you have on your tenant Thorne. Contact numbers, place of employment, apartment lease. Everything. JEREMY: Oh, I'm just the manager. I call the plumber when the toilet backs up. The building's owned by Hawley Street Holdings in Boston. They got all that. GIBBS: Get it for me. (DOOR CLOSES) CUT TO: EXT. APARTMENT - DAY ERIN: Did you find anything? MCGEE: Urine. On the carpet. ERIN: Urine? MCGEE: Evacuation. When somebody dies, their sphincter and bladder relax. KATE: Probably more than she wants to know, McGee. ERIN: Special Agent Gibbs believe me now? MCGEE: More than he did before. KATE: McGee! MCGEE: Oh, I'll let you know what's going on, okay? (SFX: VAN DOORS CLOSE) CUT TO: INT. THORNE'S APARTMENT - DAY (SFX: VACUUM B.G.) TONY: Clear. MCGEE: Boss, I already vacuumed the couch for fibers. GIBBS: It's a convertible sofa, McGee. I slept on one for seven months. TONY: That would be after the third wife? That would be none of my business. CUT TO: INT. BEDROOM - DAY (SFX: CAMERA SHUTTER CLICKS B.G.) KATE: The missing Mister Thorne is even more mysterious. GIBBS: And dangerous. MCGEE: What do you think was in there? TONY: Drugs. CUT TO: INT. APARTMENT CORRIDOR - DAY (DOOR OPENS) JEREMY: Oh! Hawley Street Holdings faxed over a copy of Thorne's lease agreement and rental application. Uh... you're going to need Thorne's permission if you want to remove property. GIBBS: When he shows up, tell him to call me. JEREMY: Well, I'm going to need a receipt. CUT TO: EXT. PARKING LOT - DAY (SFX: TRUCK BRAKES TO A STOP) TONY: (WHISTLES) You can handle something that big? WALKER: You'd be surprised at what I can handle. TONY: Oh, really. Now do you think I could drive a truck like this? CUT TO: EXT. BUILDING - DAY WADE: Not much I can tell you. Petty Officer Dillon did his job and that's about it. Didn't hang around. Didn't socialize. GIBBS: Had he ever been late before? WADE: This was a first. I waited until noon to report him U.A. GIBBS: Did he ever mention a man named Thorne? WADE: Not that I remember. What's happened? Dillon's only been U.A. a couple hours, and NCIS is involved? GIBBS: According to his service records, Petty Officer Dillon washed out of Seal training. WADE: Yeah, I heard he rang the bell. Agent Gibbs, I'm his C.O. I want to know what's going on. GIBBS: We have a report of a sailor being strangled. WADE: And you think it's Petty Officer Dillon? GIBBS: We found his prints at the scene. No body. That's all I can tell you. (TONY AND PRETTY OFFICER WHISPER/GIGGLE B.G.) GIBBS: (SHOUTS) Hey, DiNozzo! TONY: I gotta go. Check you later. PETTY OFFICER: You know where to find me. TONY: Okay. GIBBS: Get her number? TONY: I wasn't hitting on her and neither was Petty Officer Dillon. She was interested in him, but he has a girlfriend. GIBBS: Did you get her name? TONY: Meg. It fits a hot chick like that. (SFX: GIBBS HITS TONY) TONY: Oh! You meant Dillon's girlfriend. GIBBS: (V.O.) Check out his place in Anacostia. CUT TO: INT. SQUAD ROOM - DAY ABBY: (V.O.) I enjoy going to the dentist. KATE: What could you possibly enjoy? ABBY: A little pain is a good thing, Kate. That's why people put hot sauce on tacos. GIBBS: What did the urine tell you, Abby? ABBY: Oh, all kinds of stuff. We had a really good talk. I was able to extract epithelial cells. MCGEE: That's human urine, Boss. GIBBS: What else? ABBY: No recreational drugs. Not diabetic. GIBBS: Male or female? ABBY: Wasn't pregnant. GIBBS: D.N.A.? ABBY: You're never satisfied, are you? I'm working on it. And the ballistics from Thorne's gn. But I found something interesting in the mattress cutout. Do you want to come see? GIBBS: Be down in a minute. ABBY: Okay. I need an assistant. GIBBS: It's not in the budget. KATE: The name Robert J. Thorne has to be an alias. Nothing on his apartment rental application checks out. His driver's license, social, references are all phony. He lists his occupation as a sales representative, but the company doesn't exist. GIBBS: The owners of the building didn't verify anything? KATE: He paid the first month, last month and every payment since in cash. Apparently, dad presidents are the only reference they needed. MCGEE: Ran the serial number on Thorne's Sig by the manufacturer. It was sold fifteen months ago to a Virginia dealer. He works gn shows. Trying to track him down. GIBBS: What'd you find? TONY: Couldn't tell when Petty Officer Dillon was last in his apartment. Bed wasn't made, but from the looks of the place, it never is. GIBBS: What about the girlfriend? TONY: Ah, indications are they're in the not-ready-to-commit stage. KATE: Indications? TONY: Yeah. She keeps her cosmetics and her toothbrush there, but no clothes. And they are intimate, but not at the moment. KATE: Okay, now how would you know that? TONY: Gyne-Lotrimin. Jill Meyers has a yeast infection. I'll call the pharmacy and get her address. GIBBS: You may not admire his methods, but you gotta love the results. I'm with Abby. MCGEE: Uh Boss, can I come? GIBBS: Come on. CUT TO: INT. NCIS GARAGE - DAY MCGEE: What've you got, Abs? ABBY: Do I have to answer the newbie? GIBBS: Humor him. ABBY: There were traces of cocaine found inside the box. MCGEE: So Tony was right. He was dealing drugs. ABBY: Maybe not. The traces were microscopic. So it could just be from hiding money. (TO GIBBS) He calls himself a federal agent. GIBBS: The U.S. money supply is contaminated with traces of cocaine. MCGEE: I thought that was an urban myth. ABBY: Gimme a bill. MCGEE: Huh? KATE: Give me a bill. GIBBS: A hundred? MCGEE: Yeah, I like to be prepared for any emergency. ABBY: You're such a Boy Scout. Money is a great receptor because the ink never really dries. One bill used to snort cocaine and then going through an ATM leaves minute traces of the drugs on thousands of others. (CONT.) Four out of five bills in circulation are contaminated to the level that can be detected by drug dogs. MCGEE: Um... Abs? ABBY: Yeah? MCGEE: Are you forgetting something? ABBY: No. GIBBS: Hey, McGee!(PHONE RINGS) MCGEE: Just a second. (INTO PHONE) Special Agent McGee. CUT TO: EXT. CONSTRUCTION SITE - DAY FLOYD: (INTO PHONE) Hey, kid. This is Detective Floyd. We found something you might be interested in. (TO POLICE) Step out there. (MUSIC OUT) FADE IN: EXT. NCIS TRUCK - DAY MCGEE: I knew Erin saw what she saw. That feeling in my gut was right. TONY: That feeling you experienced was lower than your gut, Probie. CUT TO: EXT. CONSTRUCTION SITE - DAY KATE: Oh! All right, Ducky, you're up. DUCKY: Thanks, Caitlyn. KATE: I'd have to be really desperate to use one of these things. DUCKY: Yeah, wretched, aren't they? FLOYD: Looks like your missing sailor was dumped here over the weekend. His watch and his wallet are missing. GIBBS: The kller didn't know he was seen strangling Petty Officer Dillon. He made it look like a mugging. FLOYD: Makes sense. Any luck tracking Thorne down? GIBBS: The name's an alias. FLOYD: The kid's got good instincts, though. GIBBS: Yeah, you think so, huh? McGee! MCGEE: Yeah? GIBBS: Did you leave my coffee in the truck? MCGEE: Oh, I'm getting it now, Boss. FLOYD: Keep me posted. GIBBS: Duck? DUCKY: Oh, based on the lividity and blood pooling, the body was most definitely moved. The ligature marks indicate strangulation as the cause of death. These parallel lines suggest electrical cord. Time of death... twelve to fourteen hours ago. GIBBS: That would confirm the witness' story. DUCKY: Yeah. Bag his head and hands, Mister Palmer. TONY: Hey, do you want to help me with the grid? KATE: Oh... give me the hypnotist's number. MCGEE: Here you go, Boss. GIBBS: What's next? MCGEE: What? GIBBS: How do we proceed, McGee? MCGEE: Right. Well, uh... we've got to figure out who Thorne is and find a connection between him and Petty Officer Dillon. Probably the money. (CONT.) And I think it would be a smart move to keep an eye on Thorne's apartment. If he doesn't know we're on to him, then he'll be back. GIBBS: What else? MCGEE: I think Erin and the building manager should work on a composite sketch. Am I forgetting anything? GIBBS: Just to keep my coffee hot, McGee. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY DUCKY: Bring me an evidence file please, Mister Palmer. This fiber appears synthetic, most likely the Petty Officer didn't pick it up from the portable loo. Their making your death appear a robbery was a very amateurish attempt at a red herring. JIMMY: I've always found that a very curios expression. DUCKY: Yes, it is, isn't it? You know the derivation? Fox and hounds. JIMMY: How's that Doctor Mallard? DUCKY: Well, the only practical way to cure a herring is by smoking and salting. Yes, it turns the fish a crimson red and gives it a very distinctive smell. In the early Fifteenth Century, they used to train their hounds to hunt foxes by dragging a red herring along the ground on a piece of string to leave a trail of scent for the dogs to follow. Then later on, they would drag a red herring across the scent trail of a real fox to test the dog's ability to ignore a false sent or false clue. (CONT.) Hence the term red herring became to mean a false clue designed to fool one's opponent. JIMMY: It's fascinating. DUCKY: Yeah. (WRITES) Thank you. Do you know the etymology of the phrase, white elephant? JIMMY: You know, I should really get this up to Abby. DUCKY: Oh, because of its rarity, the King of Siam declared all white elephants his personal property. CUT TO: INT. NCIS LAB - DAY (SFX: gn) ERIN: How's that? MCGEE: Yes. Excellent.(ABBY WALKS TO THE INNER LAB) (SFX: KEYBOARDING B.G.) ABBY: This is as far as you've gotten? MCGEE: Uh, yeah. That's as far as we're gonna get. ERIN: I'm sorry. I just can't remember what he looks like. ABBY: Show her the composite the manager did. MCGEE: I did. It's a waste of time. It could have been anybody. ERIN: Let me try something. (SFX: KEYBOARDING) ABBY: What are you doing? MCGEE: Erin is incredible! She has rewritten software code for the M.A.U program to incorporate hyper-threading. ABBY: I thought you were working on the composite. MCGEE: It's not gonna happen. Erin, any idea on how to over-clock the processors? ERIN: Yeah, um... you've got two options. Changing either the FSB or the multiplier locks. JIMMY: Oh, a gift from Doctor Mallard. (SFX: GIGGLING B.G.) ERIN: There it is! MCGEE: That's amazing! CUT TO: INT. BOWLING ALLEY - DAY (SFX: BOWLING PINS B.G.) KATE: Jill Meyers. NCIS. Special Agent Todd and DiNozzo. TONY: We'd like to talk to you about a Petty Officer Keith Dillon. When's the last time you saw him? JILL MEYERS: A couple of days ago. So how did you find out that I know Keith? Did he... he tell you? KATE: Petty Officer Dillon has been mrder. JILL MEYERS: What? What happened? KATE: Well, that's what we're trying to find out. TONY: How long have you and Petty Officer Dillon been... seeing each other? JILL MEYERS: Keith came in a couple months ago. So he's dad? TONY: Yeah. KATE: You're married. JILL MEYERS: Uh... yeah. TONY: Does your husband know about Keith? JILL MEYERS: Uh uh. He's a... he's in Iraq. Been there eight months. KATE: Anyway he could have found out? Were things were getting serious with Keith? JILL MEYERS: I was going to send my husband an email... breaking up. Good thing I didn't. Keith wanted me to quit my job and move in with him. TONY: He was going to support you? JILL MEYERS: Yeah. He was coming into a lot of money. I guess I'm stuck here now. TONY: Did Keith ever talk about a guy named Robert Thorne? JILL MEYERS: Keith didn't talk about anything. Our relationship was more... physical than anything else. I do know he was pissed he didn't make it as a Navy SEAL. KATE: Anything else? JILL MEYERS: My husband doesn't need to find out about Keith, right? (KATE AND TONY WALK O.S.) KATE: Dear John email? What a calculating witch. She gives all women a bad name. TONY: I'm never getting married. There's no upside to it. KATE: That's not true. Statistically, married men live longer. TONY: They don't' actually live longer, it just seems longer. KATE: You're just cynical. TONY: Am I? Marriage was never intended to last more than a few years. KATE: Where did you get that? TONY: Anthropology one-oh-one. The concept was invented by cavemen with a life expectancy of twenty five years. 'Till death do us part meant four or five years tops. KATE: That was very enlightening, DiNozzo. And I do understand now. You think like a Neanderthal. CUT TO: INT. LAB - DAY (SFX: MUSIC PLAYS B.G.) (GIBBS TURNS OFF THE MUSIC) ABBY: Hey! GIBBS: Geez! ABBY: Don't mess with my music! GIBBS: How do you work with that? ABBY: It helps me to concentrate. GIBBS: On what? ABBY: Fibers that Ducky found on Dillon. Definitely one from the trunk lining of a car. I'm going to run them through the FBI's M.A.U. database and try to narrow it down to make, model and year. What's this? GIBBS: Thorne's original Virginia gn purchase application for his SIG. See if you can lift a print off it. ABBY: As soon as I'm finished with this. GIBBS: No, Abby! Do it now! (SFX: MUSIC B.G.) CUT TO: INT. SQUAD ROOM - DAY KATE: I have a dentist appointment tomorrow morning. TONY: You see the hypnotist? You weren't going to tell me. KATE: I don't like crutches. TONY: I hope you never break a leg. GIBBS: Who is sitting Thorne's apartment? MCGEE: Special Agent Balboa. I'm on my way to relieve him. GIBBS: Did you find the girlfriend? KATE: She's a piece of work, but we did find-- TONY: It's all about the money, Boss. Petty Officer Dillon told his girlfriend he was gonna be rich. A career E-six? It wasn't coming from the Navy. KATE: We figure Thorne klled him for the money. GIBBS: You think? TONY: What are you thinkin'? GIBBS: Where's the money? KATE: Thorne took it. GIBBS: Why'd he leave his wapon? KATE: He's coming back. CUT TO: EXT. ERIN'S APARTMENT - NIGHT ERIN: (V.O.) Well, I'm fascinated. CUT TO: INT. ERIN'S BEDROOM - NIGHT ERIN: (INTO PHONE) You have multiple degrees, including computer science from M.I.T. How did you end up a Federal Agent?(BEGIN TELEPHONE INTERCUTS) MCGEE: (V.O./FILTERED) Ah... (SCENE CUT) MCGEE: (INTO PHONE) It was by design. I always wanted to be in law enforcement. (SCENE CUT) ERIN: (INTO PHONE) I never thought I'd be talking like this with someone who carries a gn. (GIGGLES) (SFX: SOFT NOISE B.G.) MCGEE: (V.O./FILTERED) Erin? ERIN: (INTO PHONE) Hold on. MCGEE: (V.O./FILTERED) What is it? ERIN: (INTO PHONE) I'll be right back. MCGEE: (V.O./FILTERED) Okay. (MUSIC OVER ACTION/ERIN WALKS TO THE LIVING ROOM/ RUNS TO THE BEDROOM) (DOOR CLOSES) ERIN: (INTO PHONE) Somebody's trying to break into my apartment! MCGEE: (V.O./FILTERED) I'll be right there. (SFX: DOOR SLAMS OPEN) (SFX: ERIN SCREAMS) CUT TO: INT. APARTMENT - NIGHT MCGEE: (INTO PHONE) Don't hang up! I'm coming! CUT TO: EXT. STREET - NIGHT (MUSIC OVER ACTION/MCGEE RUNS TO THE BUILDING) CUT TO: INT. APARTMENT - NIGHT (MUSIC OVER ACTION/MCGEE RUNS TO THE BEDROOM) (SFX: LAMP SHATTERS) MCGEE: Ah! (SFX: gn B.G.) (MUSIC OVER ACTION/MCGEE PERFORMS CPR) (MUSIC OUT) MUSIC IN: EXT. APARTMENT BUILDING - NIGHT EMT: You're fine. FLOYD: (V.O.) Your boy witnessed a mrder. CUT TO: INT. ERIN'S BEDROOM - NIGHT GIBBS: He was staked-out in Thorne's apartment. FLOYD: Could he pick the kller out of a line-up? GIBBS: You have a suspect? FLOYD: No, but if I did, I'd like to find out if your boy could-- GIBBS: His name is Special Agent McGee. FLOYD: ... If Special Agent McGee could make a positive I.D. GIBBS: Get a suspect and we'll find out. FLOYD: I'll secure the crime scene. My M.E.'ll be here in about ten minutes. GIBBS: She was my witness. This is still my case. FLOYD: A civilian kills another civilian? I do not think so. Nobody gets in here but our forensic team. OFFICER: Mm-hmm. Right. CUT TO: EXT. APARTMENT - NIGHT KATE: Hey. MCGEE: I should have been watching from Erin's apartment. KATE: No, you were exactly where you were supposed to be, McGee. MCGEE: I saw Erin lying there, and I rushed in without clearing the room. He ht me from behind with something. KATE: A lamp. MCGEE: I should have got him. KATE: (V.O.) You tried. MCGEE: I tried to save Erin and I didn't. I tried to sh*t her kller, and I missed. KATE: Her death is not your fault, Tim. MCGEE: All I can see is Erin lying on the floor. CUT TO: INT. CORRIDOR - DAY JEREMY: A sht woke me up, and I looked out the window and I saw a guy in a dark jump suit running towards "S" Street. FLOYD: I'll take over here. (PHONE RINGS) GIBBS: (INTO PHONE) What? CUT TO: INT. LAB - NIGHT ABBY: (INTO PHONE) I got a match on the slug that I fired from the gn found in Thorne's apartment. GIBBS: (V.O./FILTERED) Yeah? ABBY: (INTO PHONE) I ran it through A.T.F. It was used in two unsolved mrder. CUT TO: INT. CORRIDOR - NIGHT TONY: What's up, Boss? GIBBS: Cancel Ducky. Let's get out of here. CUT TO: INT. SQUAD ROOM - DAY TONY: (INTO PHONE) Bowers. (SPELLS) B.O.W.E.R.S. Can you fax me a copy of the files? Great. Thanks, Lieutenant. (TO MCGEE) Some advice? You can sit there and second guess what you should or shouldn't have done and never get the answer. Or you can get back on the job and catch the bastard. The Sig in Thorne's sofa bed was used to mrder a Carole Anne VanBuren in suburban Raleigh and a Thomas Roy Bowers in Baltimore. GIBBS: Any tie between them? TONY: Just the Sig. VanBuren was involved in a messy divorce. Husband's a lot richer with her dad. Bowers was a tough union steward leading a long strike. GIBBS: Both hits. TONY: Sounds like it. GIBBS: Have the local LEOs in Raleigh and Baltimore... TONY: Fax the files. Already did, Boss. GIBBS: How's the root canal? KATE: Nothing to it. TONY: Thanks to...? KATE: You, Tony. I have to give you credit. The hypnotist really worked. TONY: Thank you. KATE: You know, Gibbs, this hypnotist consults with police departments on cases of repressed memory. She might be able to help McGee recall details. GIBBS: Yeah? Why don't we just use a Ouija board? KATE: Hypnotism isn't a parlor game, Gibbs. GIBBS: You could fool me. KATE: Can we at least try? GIBBS: No. (bat) Ah hell, why not? MCGEE: Boss, I don't think I can be hypnotized. CUT TO: INT. THORNE'S APARTMENT - DAY FOX: He's ready. Now traumatic memories are permanent. The biggest barrier to recalling them is stress. KATE: Well, McGee was certainly under a lot of stress last night. TONY: Probie's always under stress, Kate. FOX: Well, with hypnosis we bypass the stress, go into the subconscious where the memories are. Now being here where the incident occurred will help. GIBBS: So does a good whack to the head. FOX: May I continue, Agent Gibbs? (TO MCGEE) Agent McGee, when I touch your forehead, you will open your eyes and remain fully relaxed. It will be last night when you were talking to Erin on your cell phone. You will see and hear everything clearly. MCGEE: What is it? FOX: What's happening? MCGEE: She's heard a sound. She's scared. FOX: What is she saying? MCGEE: She's talking low. Sounds frightened. FOX: Her exact words. MCGEE: Someone's trying to break into my apartment. FOX: What did you do? MCGEE: I went to the window. FOX: Do it. (MCGEE WALKS TO THE WINDOW) FOX: What did you see? (INTERCUT FLASHBACK SCENE) MCGEE: Erin's being asault. I have to help her. FOX: Just stay with this feeling. Are you looking at the attacker's face? Describe it. (INTERCUT FLASHBACK SCENE) MCGEE: I can't see him. FOX: How is he dressed? MCGEE: Jumpsuit. Hooded jacket. FOX: What else can you see? MCGEE: His hands. Putting something around her throat. (SFX: CELL PHONE RINGS) ABBY: (V.O./FILTERED) Gibbs. GIBBS: (INTO PHONE) Hold on. MCGEE: (V.O.) A watch. FOX: Describe the watch. MCGEE: Large. (INTERCUT FLASHBACK SCENE) MCGEE: On his right wrist. I've got to help her. FOX: It's all right. You're going to sit down. When I touch your forehead, you will be fully aware. Your memory sharp and clear. GIBBS: (INTO PHONE) Yeah, go ahead. ABBY: (V.O./FILTERED) I don't know what you're doing...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) . but it can't be more important than what I've got. (SCENE CUT) GIBBS: (INTO PHONE) Just say it, will you, Abs? ABBY: (V.O./FILTERED) You asked, I've lifted. (SCENE CUT) ABBY: (INTO PHONE) It wasn't easy, but I got a partial off Thorne's gn application. GIBBS: (V.O./FILTERED) You ran it through AFIS? ABBY: (INTO PHONE) I didn't have to. GIBBS: (V.O./FILTERED) Why not? ABBY: (INTO PHONE) Because I already know everything that you need to know about him. (SCENE CUT) GIBBS: (INTO PHONE) Good work, Abs. (TO FOX) Can you give us a minute, please?(END TELEPHONE INTERCUTS) FOX: Sure, no problem. GIBBS: Abby found Thorne. KATE: Where? GIBBS: In Ducky's cold storage vault. TONY: He's dad? KATE: I don't... I don't understand. GIBBS: Abby matched the print taken from Dillon's corpse to one taken from Thorne's gn application. Petty Officer Dillon and Thorne are the same guy. TONY: Dillon was the ht man? GIBBS: He probably used the name Thorne when he was hired to kll those two people. KATE: A macho, washed-out SEAL, trying to prove his worth. GIBBS: Creates a fictitious persona, Thorne, to freelance as a kller. MCGEE: If there's no Thorne, who mrder Erin and Dillon? GIBBS: Whoever stole the money from the sofa. (INTERCUT FLASHBACK SCENE) MCGEE: Boss, the kller was wearing his watch on his right wrist. CUT TO: INT. APARTMENT CORRIDOR - DAY (SFX: MCGEE POUNDS ON THE DOOR) JEREMY: Hey, what's going on? (bat) Hey, did you guys find Thorne? GIBBS: Yeah, we found him. MCGEE: You bastard! You wear your watch on your right hand. JEREMY: A lot of people do. MCGEE: You have the keys to Thorne's apartment. JEREMY: I'm the manager. I've got keys to all the apartments. GIBBS: Did Detective Floyd tell you that the young woman across the street witnessed the mrder in Thorne's apartment? We're going to match the fibers found on Dillon's body to the trunk fibers in your car. What do you think about that? (SFX: JEREMY THROWS HIS GROCERIES) (MUSIC OVER ACTION/JEREMY RUNS FROM THE APARTMENT) CUT TO: EXT. STREET - DAY (MUSIC OVER ACTION CHASE SCENES) (SFX: CAR TIRES SCREECH) JEREMY: No! No! No! No! Don't! Don't! Don't! GIBBS: (SHOUTS) McGee! If you're gonna sh*t him, you should have done it while he was running! (TO JEREMY) Turn over! (SFX: SIREN) MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY KATE: You are so... TONY: Coordinated. KATE: Adolescent. TONY: I prefer the term "fun-loving." Oh! Ooh! Oh, hey! Food fight!(KATE AND TONY BEGIN A FOOD FIGHT) (SFX: LAUGHTER) MCGEE: Guys. Guys! Guys! Please, I'm trying to write. KATE: Sorry, McGee. TONY: Need any help? MCGEE: No thank you. Just some quiet. TONY: No problema. Shh! TONY: (LOUDLY) Remember your first.... (QUIETLY) remember your first report, Kate? KATE: Yes! Gibbs made me rewrite it twice. I felt like I was in grammar school again. Are you going to pick up those carrot sticks? TONY: I didn't throw any carrot sticks. KATE: I can't stand working in a pig sty. (SFX: TONY CHOKES) TONY: He only made you redo it twice? KATE: I forgot to spell check. How many times, Tony? TONY: Can I catch a peanut in my mouth without missing? KATE: Ah. Did you have to redo your first report for Gibbs? TONY: A few. KATE: What's a few? GIBBS: Five. It would have been more but I took pity on him. KATE: Ooh! GIBBS: McGee, good job. Send it up to the Director. MCGEE: Will do, Boss. GIBBS: Any more food fights in here I'm joining in with peas. KATE: Frozen peas? GIBBS: Nope. In the can. TONY: (READS) Dear Mister and Missus Kendall. KATE: It's a sympathy note. TONY: That's nice, McGee. KATE: That's very nice. (MUSIC OUT) (ENDING CREDITS UP AND OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x14 - Witness"}	foreverdreaming
FADE IN: EXT. WOODS - VIEWFINDER WILLIAM MOORE: (V.O.) I am here in Shenandoah State Park. Oh, that's beautiful. Wow!(CAMERA PANS POND AND HILLSIDE THROUGH VIEWFINDER) (ACTION CONTINUES AS MOORE TUMBLES DOWN THE HILL) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "CAUGHT ON TAPE" KATE: (V.O.) He did that? Yeah? (INTO PHONE) You're kidding. Well, I wouldn't put it in my romantic column, Deb. Definitely kinky. Maybe affectionately odd. But I mean, I don't find anything romantic about having sex with...I'll call you back later. (HANGS UP PHONE) TONY: Sex with a what? KATE: None of your business. TONY: Another woman? KATE: Go back to your desk. TONY: Another man? KATE: I told you. TONY: Some kind of root vegetable? KATE: You're disgusting. TONY: Wasn't me having a conversation about kinky sex, Kate. KATE: It was a private conversation, Tony, something you seem to have a difficult time with. TONY: If I'd been having that conversation, you'd accuse me of being a Neanderthal. KATE: Well, that doesn't require a conversation, Tony. TONY: You know what I think, Kate? I think there's a secret side to you. A Spike Steele video kind of side. Keep it hidden under your mattress. KATE: Leave now. TONY: Ah, you're a Spike Steel fan, aren't you, Probie? MCGEE: What, the prn star? TONY: No, the physicist. MCGEE: Oh, no not really. He looks kind of sleazy. KATE: Actually he looks a little bit like Tony. TONY: Oh, you have no idea how much he looks like me. Kate, how do you know what he looks like? KATE: I saw him on the news when he was arrested a few years ago. TONY: Really. Spike Steel's real name is Jay McMann. And according to the National Crime Database he's never been arrested. Ever.(SFX: KEYBOARDING B.G.) GIBBS: What're you waiting for, DiNozzo? TONY: Uh... GIBBS: Gas the truck. TONY: I knew that. GIBBS: McGee, get Ducky. MCGEE: What am I telling him, Boss? GIBBS: We have a dad Marine in Shenandoah River State Park. Come on! Let's go! CUT TO: EXT. STATE PARK - DAY KETT: (V.O.) Sergeant William Moore. Call came in from his wife. GIBBS: The friend? KETT: Sergeant Roger Caine. All camping together. This morning they were going to hike this trail. Sergeant Moore went ahead early to film the sunrise. When they couldn't find him, they called us. Early in the morning, it's really slippery up here. Sergeant lost his traction and slipped. GIBBS: Are you a trained investigator, Ranger Kett? KETT: Been working this park five years, Agent Gibbs. It's as treacherous as it comes up here. Seen a lot of hikers go over. GIBBS: This hiker was a Marine. KETT: Yeah, well, this Marine slipped and fell to his death. GIBBS: You said he was filming. KETT: That's what his wife said. No sign of the camera. GIBBS: Me and my team can take it from here. CUT TO: INT. TRAIL - DAY KATE: I wonder what happened to McGee? TONY: Probably passed out on the side of the trial sucking his thumb. KATE: He joined a gym, you know. TONY: Is that right? MCGEE: (SHOUTS) Wait up! TONY: He should get his money back. Where the hell have you been? MCGEE: Ducky needed some help with his gear. How much further is this? KATE: It's another quarter of a mile. TONY: Uphill. Stamina, Probie. It's very important in our profession. As it is in Spike Steel's profession. KATE: You relate to him, don't you, Tony? TONY: Oh, we have a lot in common. KATE: Stamina? TONY: For one. CUT TO: EXT. CREEK - DAY DUCKY: What are your preliminary findings, Mister Palmer? JIMMY: Ah, lacerations, bruises, contusions consistent with a fall of this kind. DUCKY: And? JIMMY: And uh... I would imagine that the victim has sustained fractures of several limbs. DUCKY: Cause of death? JIMMY: Impossible to say until we get him back, but from the looks of his head wounds, I would say that he probably struck a rock. DUCKY: Cause of death? JIMMY: Shock. DUCKY: That would be my supposition as well. JIMMY: But what I don't get is the flesh trauma. What kind of wounds are these, Doctor? DUCKY: They're Coyote. They would eat the exposed tissue first. JIMMY: What's second? DUCKY: If what I suspect is true, the abdominal cavity has been chewed open. The liver and kidney are a rich source of nutrients for these creatures. JIMMY: That's gross, Doctor. DUCKY: Well actually, Mister Palmer, we're quite lucky here. In some cases they chew off the head and carry it away so they won't have to fight other coyotes for it. My coroner friend in Los Angeles says coyotes take it "to go." They're very strange in Los Angeles. GIBBS: Anything unusual, Duck? DUCKY: Not really, Jethro. I'll know more when I get our Marine back on the table. MCGEE: Boss! I found the camcorder! CUT TO: EXT. CAMPGROUND - DAY JUDY: He was obsessed with the stupid camera. I gave it to him on his birthday. Maybe if he hadn't, he wouldn't have slipped. GIBBS: Anybody else at this campsite while you were here. CAINE: No, Sir. Just the drunk. He was nothing to worry about. He was in a trailer over there. Scruffy guy. He was drinking too much. He got loud. We asked him to keep it down. GIBBS: He didn't keep it down? CAINE: No, Sir. So we went over there and tried to reason with him. That's when he took a swing. KATE: You took a swing back? CAINE: No, Ma'am. Bill put him in a head-lock 'til he calmed down and then he just took off. GIBBS: I don't suppose you got a license number? CAINE: No, point, Sir. The guy was harmless. JUDY: Bill spends eight months in Iraq and dies filming a sunrise in Virginia. CUT TO: INT. LAB - DAY (SFX: DOORS SLIDE OPEN) ABBY: That's not the way it works, Gibbs. This thing has been in water for hours. You don't just spray a little Four-Oh-Nine on the tape and off you go. GIBBS: Tape? ABBY: Yes. It's digital video tape. GIBBS: I thought everything was a chip these days. ABBY: No, they kind of married the old school with the new. You know like new hip-hoppers will go back to old-school rappers like Sugar Hill gng. GIBBS: How long? ABBY: I have to separate the cartridge. I have to submerge the wheels in a cleaning solution with the heads up against it. I have to remove the silt contaminants so they don't shred the tape... GIBBS: How long Abby? ABBY: Um... three, maybe four hours. GIBBS: Let me know when you got it. ABBY: Hey Gibbs, do you have a camcorder? GIBBS: Yeah. Digital, okay? ABBY: Good, Gibbs! Way to go! Did you make the jump to CDs yet? Because if you didn't, it's cool because all the hot D.J.s, they use vinyl these days anyway. GIBBS: Just get it to me. ABBY: Hey Gibbs! Gibbs! Gibbs! Gibbs! Gibbs! Gibbs! Gibbs! Peace out, man. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Indiscriminate predators; coyotes, fish, cats, garbage. They'll eat anything they can chew, unlike my mother who can no longer chew anything. I assure you, Mister Palmer, it is a beastly sight. JIMMY: Yes, it is, Doctor. DUCKY: I was speaking of my mother. JIMMY: Right. DUCKY: Have you ever seen a rib-eye steak that's been reduced to baby food by a Cuisinart? JIMMY: Not recently. DUCKY: It's remarkably similar to her burritos and her pizzas. Not to mention the Sunday dinner treat sushi through a straw. Give me a pair of tweezers, Mister Palmer. There's something peculiar here. JIMMY: What is it, Doctor? DUCKY: I haven't a clue. That's why you will take it directly up to Abby. I was thinking, Mister Palmer... JIMMY: Yes, Doctor? DUCKY: Perhaps it about time you came over to the house one evening. JIMMY: Came over? DUCKY: Join us for dinner. JIMMY: Ah... that'd... that would be great. (SFX: DOORS SLIDE OPEN) CUT TO: INT. LAB - DAY ABBY: Northern White Ash. Ash trees are not indigenous to this area. And even if they were, you know any that have kiln dried wood and a lacquer coating? GIBBS: Lacquer? ABBY: Yep. Clear coat. GIBBS: Baseball bat. ABBY: Wooden bats are made out of either maple or ash. Ash is more popular, but it tends to splinter more easily GIBBS: Especially when they come in contact with somebody's skull. ABBY: Somebody did a Barry Bonds on Sergeant Moore's head, Gibbs. (MUSIC OUT) FADE IN: INT. SQUAD ROOM - DAY KATE: (V.O.) Sergeant William Moore, transferred from Camp Lejeune to Quantico two months ago. (ON CAMERA) He was serving as an E-I for all newly commissioned Marine Officers. MCGEE: E.I.? TONY: Enlisted instructor, Probie. MCGEE: Uh... what did he teach, Kate? KATE: Well, according to his records, MOUT. TONY: MOUT stands for military operations.. MCGEE: Yes, I know what it stands for, Tony. TONY: Well, excuse me for trying to help junior agents! MCGEE: Trust me, when I need help you will be the first person I ask...where Gibbs or Kate is. (TONY LAUGHS) KATE: Are you two done? TONY: For the moment. KATE: These are the last two people to have seen our Sergeant alive. His best friend, and his wife. MCGEE: Hey! TONY: Now I'm done. Continue. KATE: Do you think that one or both of them could have mrder the Sergeant? TONY: Well it is kind of weird a single guy hanging out with a married couple. MCGEE: I agree. KATE: Why is that? TONY: Well, because he's a single guy hanging out with married people. KATE: I do that all the time. TONY: Yeah, but you bring a date, right? KATE: Not... always. MCGEE: Are you related to them? KATE: No. (LONG bat) What? TONY: Well, who usually invites you ...? MCGEE: The man or the woman? KATE: I don't know, I guess usually the guy. Okay, a lot of my friends are from the Secret Service, and most of them happen to be men. TONY: What about your ... girlfriend who called yesterday morning? KATE: Well, Deb is married to one of my buddies, Rick. (TONY AND MCGEE GIGGLE) KATE: Okay, so what you're trying to say is that all of my married male friends secretly want to sleep with me? TONY: Pretty much. Yeah. KATE: That's very mature, Tony. And for your information, men and women can just be friends. Isn't that right, McGee?(TONY AND MCGEE GIGGLE) MCGEE: Technically. KATE: What do you mean technically? TONY: He means she'd have to be pretty ugly first.(TONY AND MCGEE GIGGLE) MCGEE: I didn't say that. KATE: I swear I do not get paid enough for this. GIBBS: For what, Kate? KATE: Nothing. We are just discussing potential suspects. TONY: Focusing on the Sergeant's wife and best friend, Boss. GIBBS: Yeah. Well, come on. We've got one more. (TONY AND MCGEE GIGGLE) KATE: You guys are four years old, honestly. CUT TO: INT. LAB - DAY TONY: Uh... nice hat. KATE: Attractive. MCGEE: In a weird way. GIBBS: Why? ABBY: Well, I had to set up a clean room in the ballistics lab to work on the damaged videotape. And just throwing the hats away seemed sort of wasteful. So I decided to recycle. What do you think? GIBBS: I think it suits you. Now what's on the tape? ABBY: Oh, I haven't finished cleaning it up yet, but I have a P-O-I. TONY: Person of interest. GIBBS: Let's see it. ABBY: The following program has been edited for time and content. It may not be appropriate for younger viewers. GIBBS: Abby! ABBY: Right. JUDY: (ON TAPE) This isn't a good idea, Bill. MOORE: (ON TAPE) I've asked this guy three times to turn his music down. CAINE: (ON TAPE) Yea, now we make him. MOORE: (ON TAPE) And if he has a gn or something in there? CAINE: (ON TAPE) I film it and we get the redneck arrested. MOORE: (ON TAPE) Way to encourage him, Roger. CAINE: (ON TAPE) Oh, come on, honey. It's not that big of a deal. We'll be right back. ABBY: Okay, this next part is like an outtake from Deliverance. RUNION: (ON TAPE) I thought I told you guys to leave me the hell alone! MOORE: (ON TAPE) Sir. We will once you turn the music down.(SFX: DOG BARKS B.G.) RUNION: (ON TAPE) What? Do you think I'm afraid of you or something? MOORE: (ON TAPE) I'm not here to fight you. We just want you to lower the music... (SFX: STRUGGLE) MOORE: (ON TAPE) Hey hey hey! RUNION: (ON TAPE) I'll kll you! I'll kll you! MOORE: (ON TAPE) No. What you just did, you just asault me on camera. Now either you leave or we're going to call the cops. RUNION: (ON TAPE) All right. Just let me go. MOORE: (ON TAPE) Huh? RUNION: (ON TAPE) All right. GIBBS: We need to I.D. this guy. ABBY: Oh, I'm way ahead of you, Gibbs. I got a sht of the license plate. It is registered to a David Runion. His last address is an R.V. campground in Manassas. He's since moved. GIBBS: Find him. That's good work, Abby. Tony, head back to Shenandoah State Park. Take McGee. TONY: For what exactly, Boss? GIBBS: I want to know where the Sergeant was klled before he was tossed off that cliff. TONY: Oh. Get the sedan ready, Probie. I'll meet you out front. ABBY: So Kate, you really like my hat? KATE: Uh... it's different. ABBY: Cool, because I made you one! KATE: Abby, I don't know what to say. ABBY: Put it on! KATE: Okay. MCGEE: She bet me twenty bucks that she could make you wear that today.(MCGEE WALKS O.S.) ABBY: Your cut. KATE: Pleasure doing business with you, Abs. ABBY: Totally. CUT TO: EXT. STATE PARK - DAY TONY: Hurry it up, McGee. MCGEE: I mean, you could have helped. TONY: I did. I carried the camera. Moore was a Marine, a combat veteran. Probably not the easiest guy in the world to sneak up on. MCGEE: Unless he knew his attacker. TONY: Or was ambushed. It's pretty wide open space. Let's check out the tree line. CUT TO: EXT. TRAIL - DAY MCGEE: Blood drop. TONY: Sure looks like it. Okay, we're going to have to search in there. You're going to want to watch out for-- MCGEE: Yes, I know how to search a wooded area, Tony. I'm not an idiot. TONY: I didn't say you were. MCGEE: Then why do you always treat me like one? TONY: Just trying to impart a little wisdom, McGee. MCGEE: Look, I graduated top of my class at FLET-C. So I think I can handle it. TONY: Be my guest. Give me a call if you find anything. MCGEE: I will. CUT TO: INT. SQUAD ROOM - DAY KATE: I found David Runion, Gibbs. He checked into another campground twenty miles from the Shenandoah State Park. Also ran a background check on him. He's served time. GIBBS: For what? KATE: asault and battery. He nearly bat a man to death with a pool cue in ninety three. GIBBS: Looks like this time he might have succeeded. KATE: We getting a warrant? GIBBS: We need evidence for a warrant, Kate. Right now I just want to talk to him. CUT TO: EXT. WOODED AREA - DAY MCGEE: Tony! I found it! (PASSAGE OF TIME) TONY: Not bad. Not bad at all, McGee. MCGEE: Thanks. Hey, I'm sorry about that there. TONY: Don't mention it. Besides, that's a pretty brave thing to do. MCGEE: What do you mean brave? TONY: Well, crawling around back here in all this poison ivy. I don't know if I would have done it. MCGEE: You're... you're kidding, right? TONY: Leaves of three let them be, McGee. A little something I picked up during my first year. Don't touch me, by the way. MUSICAL BRIDGE TO: EXT. CAMPGROUND - DAY KATE: Is that a rat or a dog? Hey, buddy. Hey. Oh. Sorry. I wouldn't do that if I were you, Gibbs. One day you're going to have to tell me how you do that.(SFX: DOG GROWLS/BARKS) GIBBS: Easy. They can sense sarcasm. (SFX: DOG GROWLS/BARKS) (GIBBS AND KATE WALK TO THE CAMPER) GIBBS: (SHOUTS) Runion! Special Agents Gibbs and Todd, NCIS! I'd like to ask you a few questions! (KNOCK ON DOOR) (DOOR OPENS) CUT TO: INT. CAMPER - DAY GIBBS: Clear. What do you think? KATE: The word disgusting comes to mind. GIBBS: You smell that? KATE: Ah, if you're referring to the urine, yes. GIBBS: No, I meant this. KATE: Marijuana? GIBBS: Yeah, it's recent too. Ah... KATE: Well, it's enough to bring him in and hold him for a while. GIBBS: Oh, yeah. (SFX: DOG BARKS) CUT TO: EXT. CAMPGROUND - DAY KATE: (SHOUTS) Runion! Federal agents! Stop! (SFX: DOG CONTINUES BARKING) (MUSIC OVER ACTION/KATE AND GIBBS CHASE RUNION) RUNION: Idiots. GIBBS: Put your hands behind your head. RUNION: How did you...? GIBBS: Sneak up on you like that? RUNION: Yeah. GIBBS: I used to do it for a living. Back then you'd be dad instead of under arrest. Any other questions? RUNION: Uh-uh. GIBBS: I didn't think so. (FADE TO BLACK) FADE IN: INT. OBSERVATION ROOM - DAY RUNION: I know you can hear me out there. I'm telling you for the last time. CUT TO: INT. INTERROGATION ROOM - DAY RUNION: I gotta use the bathroom. CUT TO: INT. OBSERVATION ROOM - DAY RUNION: Okay, have it your way. It won't be the first time I had to do this. KATE: Maybe we should. TONY: He's bluffing. KATE: Tony, you didn't see the inside of his camper. TONY: That bad, huh? KATE: Picture the most disgusting public restroom you've ever been in, covered in puss and vomit. I would still rather live there than this guy's place. TONY: That's nice, Kate. KATE: You should thank me. Eating that crap will kll you. TONY: I'm more concerned about what Gibbs will do if this redneck takes one in our interrogation room. CUT TO: INT. INTERROGATION ROOM - DAY (DOOR OPENS/ CLOSES) RUNION: I gotta use the bathroom. GIBBS: Hold it. RUNION: I can't. GIBBS: Good, we can do this quick. Why'd you mrder Sergeant William Moore? RUNION: What? Who the hell is that? GIBBS: That's right. You probably don't recall his name. MOORE: (ON TAPE) Sir, I'm not here to fight you. We just want you to lower the music.(SFX: DOG BARKS B.G.) (STRUGGLE) (ON TAPE) Hey hey hey! RUNION: (ON TAPE) I'll kll you. MOORE: (ON TAPE) What you just did was asault-- GIBBS: He was found yesterday lying at the bottom of a cliff. RUNION: Is that what this is all about? You think I klled some jarhead? No way, man. Nice try. GIBBS: Why'd you run? RUNION: 'Cause of the pot in my trailer. I got a medical condition. GIBBS: What? Stupidity? RUNION: Oh, man. I was really drunk that night. I barely even remember the guy. I sure as hell didn't kll him. GIBBS: Where were you yesterday between five thirty and seven thirty a.m.? RUNION: Sleeping. Yeah, at the rest stop off Two Eleven. I didn't even wake up until after ten o'clock. GIBBS: Witnesses. RUNION: Oh, sure. I mean, there were lots of other cars and trucks when I pulled in. GIBBS: I need names. RUNION: I don't have any names. CUT TO: INT. OBSERVATION ROOM - DAY KATE: There are two rest stops on that road, Tony. TONY: Check if they have any video surveillance or attendants. KATE: On it. CUT TO: INT. INTERROGATION ROOM - DAY TONY: (V.O./FILTERED) Running it, boss. RUNION: So what happens now? GIBBS: You've got a violent past, your alibi's weak. And I've got you on tape thrat the victim. You tell me, Runion? DAVID: It's been this way my whole life. It's always been like this. One freakin' nightmare after another. But I swear to you, Agent Gibbs, I didn't kll anybody. GIBBS: We found your bat. DAVID: What bat? CUT TO: INT. LAB - DAY MCGEE: Hey, Abby. You got something? ABBY: Well, I've got good news and bad news. This is definitely our bat. The splinter from Sergeant Moore's head fits perfectly. MCGEE: Bad news? ABBY: It's been wiped clean of any prints. The only thing on it is urushiol oil. That's the stuff found in ... aah! MCGEE: What?! ABBY: You... you have to see this for yourself. MCGEE: Whoa! This is going to hurt, isn't it? ABBY: Yes. MCGEE: I look like a circus freak! Abby, what do I do? ABBY: Um... well, you could use Calamine lotion. Or perhaps just wear some sort of mask. CUT TO: INT. SQUAD ROOM - DAY KATE: (INTO PHONE) And can you mark it "Special Agent Todd." Thanks, Sheriff Lester. Dinner? Aren't you married? Well, it does to me. (TO TONY) My mother wonders why I'm not married. (HANGS UP) TONY: So does mine. KATE: Could you stop doing that? TONY: I'm practicing, Kate. KATE: What? Annoying me? TONY: No, the creepy way Gibbs used to sneak up on us. KATE: What do you mean used to? TONY: The old man's been wearing Ben-Gay lately. I can smell him coming a mile away. GIBBS: Is that a fact, DiNozzo? TONY: Knee feeling better, Boss? GIBBS: Much. TONY: Great. GIBBS: What about Runion's alibi? KATE: I've got the local sheriff pulling the security tapes from the rest stops on Route Two-Eleven. TONY: And we have a description of his pickup and trailer circulating with the state cops who worked the area that night. KATE: Do you think he did it, Gibbs? GIBBS: Oh, yeah. And Tony is cleaning up. (INTO PHONE) Janitorial, don't worry about interrogation. DiNozzo is gonna handle it. (TO TONY) You still here? TONY: Are you serious? ...You serious? Oh. In my defense, I did use the word creepy in the most... affectionate way. Right. KATE: You might want to use gloves. GIBBS: Where's McGee? CUT TO: INT. NCIS AUTOPSY ROOM - DAY DUCKY: Oh, let's see what we're dealing with here, Timothy. Ah, the dreaded Toxicodendrom radicans... the Poison Ivy plant. You seem to be particularly allergic to it. Usually it takes several days for this sort of reaction to develop. MCGEE: I'm lucky that way. DUCKY: The last time I encountered a case of this magnitude, two young lovers fell asleep naked in a field of it. I don't think Sarah has ever forgiven me for that one. MCGEE: What I don't understand is how did I get it all over my face? DUCKY: It's the urushiol oil in the plant. Yes, once it gets on your hands it spreads by contact. MCGEE: Um... then I have a major problem, Ducky. When I was out there, I um... I had to... you know...? DUCKY: No, I don't. MCGEE: Relieve myself. DUCKY: Oh. Ooh. Well, let's take a look then. MCGEE: This is kind of embarrassing. DUCKY: I'm a doctor, McGee. I have seen everything there is to see more times than I care to remember. Good Lord! MCGEE: What? Is it bad? DUCKY: No, no it's fine. Fine. Nothing to worry about. I didn't expect to see quite so much ...swelling. MCGEE: If Tony finds out about this I'm going to have to quit. DUCKY: Well your secret is safe with me.(SFX: DOORS SLIDE OPEN) JIMMY: Doctor, I've got the new inspection forms you req - I'll come back.(SFX: DOORS SLIDE CLOSED) DUCKY: Him I'm not so sure about. CUT TO: INT. SQUAD ROOM - DAY KATE: (V.O.) Runion's trailer pulled into the rest stop around one a.m. that morning, (ON CAMERA) Gibbs. And with a little image enhancement... TONY: Runion. I can almost smell him from here. GIBBS: How long did he stay? KATE: All night. GIBBS: Distance from Shenandoah River State Park? TONY: It's about two miles, Boss. KATE: Well, I guess he was telling the truth. We're going to have to find a new suspect. (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. (TO KATE AND TONY) Maybe not. Come on. MUSICAL BRIDGE TO: INT. LAB - DAY ABBY: How you feeling? MCGEE: Like an idiot. Tony tried to warn me. I didn't listen. ABBY: Oh, don't feel bad. The same thing happened to him the first year he was here. MCGEE: Really? ABBY: Not quite this spectacularly, but yeah. MCGEE: So honestly, how do I look? ABBY: Um... do you want the truth, or do you want me to lie to you to ease the burden of your own self-loathing. MCGEE: I'd prefer the lie. ABBY: Me, too. You're the fairest in the land, McGee. GIBBS: Okay, what have you got for me, Abs? MCGEE: It looks worse than it is. KATE: I'm not so sure about that. TONY: She means you look like the elephant man, Probie. KATE: Tony. TONY: It's true. GIBBS: Can you still work, McGee? MCGEE: Yeah sure, Boss. GIBBS: Okay, what have you got for me, Abby? ABBY: Um, I cleaned up more of the Sergeant's videotape. GIBBS: I need to see the last thing he sht. ABBY: Ooh, unfortunately that's the part that received the most damage from the impact. It was in contact from the heads and a lot of the data got... GIBBS: When? ABBY: I sent it to the Naval photo lab and hopefully I'm going to have it back by tomorrow. GIBBS: Well what am I doing here, Abby? ABBY: Because of this. This is from the beginning of the tape. It's mostly them setting up camp and checking out the area. And then there is... this. TONY: (V.O.) It looks like the widow and the best friend don't know they're being videotaped. (DIALOGUE OVER CAMCORDER SCENES) ABBY: (V.O.) And on the next side... MOORE: (ON TAPE) Honey, what's wrong? TONY: Still think men and women can just be friends, Kate? (MUSIC OUT) FADE IN: INT. LAB - DAY ABBY: I can't be sure, Gibbs. According to Gloria, lip reading was never my strong suit. KATE: Gloria her deaf sister? GIBBS: Mm-mm. Mother. ABBY: I think Judy Moore is saying... we have to something... blank him. KATE: kll? ABBY: No... GIBBS: mrder? ABBY: Nope. TONY: Love. ABBY: No. TONY: I really wish you'd stop doing that. GIBBS: I will, Tony, once you stop blanking up. KATE: Abby, could you pull the video back wider? You see how she's touching his face? I mean, it's very intimate. Clearly there's more than a friendship going on here. TONY: Which just goes to prove my point about the sexes, Kate. GIBBS: DiNozzo, you pick up Sergeant Caine in the morning. Kate, you pick up Judy Moore, don't tell her why. TONY: Looks like we're going to play Gibb's favorite game. ABBY: Musical interrogation rooms. CUT TO: EXT. ARMY BASE - DAY MCGEE: People are staring at me. TONY: Of course. You're hideously disfigured, Probie. If you'd listened to me you wouldn't be in this mess. MCGEE: If I'd listened to you, Gibbs would have fired me six months ago. You were going to whack me, but you stopped. Why? TONY: Ah, I remember what was like being the new guy, trying to fit in, never make mistakes. Of course, the obvious. MCGEE: You like me? TONY: No, it would be like touching a leper. CUT TO: EXT. BUILDINGS - DAY CAINE: Ladies and gentlemen, this way please. My favorite part of the tour - the Marine Corps snper. One of the most feared warriors in the world. After a brief demonstration... Corporal Cameron will be happy to answer any questions you may have. I'll meet you by the command center when he's done. CAMERON: (V.O.) Ladies and Gentlemen, you'll notice that our snper... CUT TO: EXT. BUILDINGS - DAY CAINE: Any more information about Sergeant Moore's accident, Sir? TONY: Sure, except that it wasn't an accident. MCGEE: It was mrder, Sergeant Caine. CAINE: mrder? How? TONY: Baseball bat to the head. MCGEE: Fifty-foot fall from a cliff. TONY: Coyotes probably didn't help. CAINE: That redneck must have overheard Bill saying he was going to film up there in the morning. We've got to find him! TONY: We did. CAINE: You need me to I.D. him? TONY: No. We do want to know what happened when Sergeant Moore found out you were sleeping with his wife. CAINE: She told you that? TONY: No, he did. Didn't know he was videotaping you, did you? CAINE: It's not what you think. TONY: Oh, so you weren't sleeping with her? MCGEE: You're under arrest, Sergeant. CAINE: For what? TONY: We'll start with adultery and work our way up from there. CUT TO: INT. SQUAD ROOM - DAY JUDY: I don't mean to be rude, but couldn't you have just sent me my husband's personal effects, Agent Todd? KATE: Well, normally we would have but that camera you bought him is pretty expensive. JUDY: It still works? GIBBS: Yeah. In a way. Water? JUDY: Thank you. KATE: So Mrs. Moore, tell us about your husband? What kind of a man was he? (SFX: DOORS SLIDE OPEN) JUDY: Loving, gentle. GIBBS: What about jealous? TONY: Where do you want him, Boss? GIBBS: Interrogation one. JUDY: Roger? CAINE: Judy, what the hell did you tell them? TONY: No talking, Marine! JUDY: What is going on here? GIBBS: That's what you're going to tell me, Mrs. Moore. Take her to interrogation room two. (INTO PHONE) Yeah, Gibbs. KATE: I'll read you your rights on the way. CUT TO: INT. LAB - DAY GIBBS: Did you get the last sht from my tape? ABBY: I'm just working on it now, Gibbs. It's kind of like a nature documentary but with a riveting mrder mystery subplot. This is where it gets interesting. (TAPE PLAYS) (SFX: MOORE GROANS/FALLS) GIBBS: He slipped and fell? ABBY: In the original version. But this movie comes with an alternate ending. In slo-mo, right when the camera slams to the ground... (TAPE PLAYS) GIBBS: The kller recorded over it. ABBY: The impact caused the heads to lose contact with the tape, preserving two frames from the original recording. I've been working on cleaning them up. GIBBS: Any way to recover the rest? ABBY: Well, since all recordings leave a magnetic impression much like a computer hard drive, by the way, if I scan the data then I'll be able to separate out... GIBBS: When? ABBY: You don't have to take the fun out of everything, Gibbs. A few hours. GIBBS: That's a good job, Abby. You have twenty minutes. ABBY: Gibbs! GIBBS: Get McGee to help you! CUT TO: INT. OBSERVATION ROOM - DAY KATE: As disturbing as this sounds, I think you may have a point about the sexes, Tony. TONY: It's biology one oh one. KATE: Would you say I'm attractive? TONY: Sure. KATE: Then how come you've never... TONY: I know you. (DOOR OPENS/ CLOSES) CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: Is something wrong with your arm, Sergeant? CAINE: I got some poison ivy in the field last week, Sir. GIBBS: Is that a fact? CAINE: I didn't mrder anyone, Sir. GIBBS: Yeah, well we'll get to that part. How long were you and Sergeant Moore friends? CAINE: Since boot camp, Sir. GIBBS: Perris Island or San Diego. CAINE: San Diego, Sir. GIBBS: Right. A Hollywood Marine. So how long after that did you start screwing his wife? JUDY: (V.O.) I don't understand, Agent Gibbs. CUT TO: INT. INTERROGATION ROOM TWO - DAY JUDY: Why am I in here? GIBBS: Don't you want to know who mrder your husband, Mrs. Moore? JUDY: Yes, but I know it wasn't Roger. He wouldn't. There's no way. GIBBS: Why's that? JUDY: Because...he was with me that morning. GIBBS: By "with me" you mean in the same sleeping bag? CAINE: (V.O.) She actually said that? CUT TO: INT. INTERROGATION ROOM - DAY CAINE: No way, Sir. GIBBS: (V.O.) Why would she lie? (ON CAMERA) I mean, besides protecting you, Sergeant. CAINE: She's insane. Look, right after Sergeant Moore went to film the sunrise, I went down to the campground showers. I was gone for about an hour. GIBBS: So she was there when you got back? CAINE: Yes, Sir. She was making breakfast. GIBBS: So what you're saying is she had about an hour to kll him? CAINE: I... I didn't say that. GIBBS: My mistake. You're saying you had about an hour to kll him. CUT TO: INT. INTERROGATION ROOM TWO - DAY JUDY: There's no way Roger would say that. GIBBS: Agent Todd. CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: (V.O.) Play back. KATE: I almost feel sorry for these two. CUT TO: INT. INTERROGATION ROOM TWO - DAY GIBBS: (ON TAPE) Why would she lie? CAINE: (ON TAPE) She's insane. GIBBS: (ON TAPE) So what you're saying is she had about an hour to kll him? (ON CAMERA) Let me guess. You thought he loved you. JUDY: When Bill was in Iraq, Roger and I...(CRYING) we grew close. CUT TO: INT. HALLWAY - DAY (DOOR OPENS/ CLOSES) TONY: What now, Boss? GIBBS: Put them both in the same room. I'm going to need a refill for this. (DOOR OPENS) CUT TO: INT. OBSERVATION ROOM - DAY CAINE: We fooled around a few times, Judy. It was a stupid mistake. JUDY: You said you loved me. CAINE: Are you nuts? Bill was my best friend. It should never have happened. JUDY: (V.O.) Then why did you kll him, if it wasn't to be with me? CAINE: (SHOUTS) Stop saying that, you crazy...!! (TO GIBBS) I didn't kll him! She's making it up! CUT TO: INT. INTERROGATION ROOM TWO - DAY JUDY: I'm pregnant, Roger. It's yours. CUT TO: INT. OBSERVATION ROOM - DAY TONY: This is better than cable. KATE: The question is, which one's telling the truth? CUT TO: INT. LAB - DAY ABBY: Okay, ready to try again, McGee? MCGEE: Play it. MOORE: (ON TAPE) Oh, that's beautiful. (SFX: KEYBOARDING) (SFX: BEEP TONES) MCGEE: Just need to adjust the read heads off track a little more. DAVID: (ON TAPE) Is that you, Roger? (SFX: MOORE SHOUTS) (VIDEO FREEZES ON RUNION) ABBY: Ha! MCGEE: Ha! CUT TO: INT. SQUAD ROOM - DAY TONY: His trailer never left the rest stop. MCGEE: But Runion did. Abby inverted the image and at zero nine hundred you can just make out his shadow underneath the trailer as he's coming back. It's only a four mile round trip on foot. KATE: (INTO PHONE) Thanks, Sheriff. (TO GIBBS) Runion posted bail for the pot charge an hour ago. GIBBS: Let's roll. MCGEE: What about Sergeant Caine and Mrs. Moore? GIBBS: Let them suffer for a while. I think Sergeant Moore would appreciate that. CUT TO: EXT. CAMPGROUND - DAY RUNION: Get back in the truck, you miserable piece of crap.(SFX: DOG BARKS B.G.) (SFX: CAR BRAKES TO A STOP) (ACTION CONTINUES) (SFX: MACHINE gn fre B.G.) GIBBS: (SHOUTS) Put down your wapon, Runion! You're not getting out of here alive! (SFX: GLASS BREAKS) (SFX: RAPID gn CONTINUES) RUNION: I ain't going back to prison, Gibbs! You hear me?! TONY: I'd say we're gn, Boss. KATE: I'll circle around back. GIBBS: I've got a better idea. (SFX: GIBBS WHISTLES) RUNION: (V.O.) Hey! (DOG JUMPS INTO THE CAR) GIBBS: You might want to cover your ears. (SFX: HUGE PROPANE explsin) TONY: I think you got him, boss. KATE: Well, what are we going to do with this thing? No way, Gibbs. TONY: I'll take him. I always wanted a dog. (SFX: DOG GROWLS) KATE: Oh, good dog! I think I'll call you Tony. GIBBS: It's a bitch, Kate. KATE: I know. CUT TO: INT. SQUAD ROOM - DAY KATE: Is it just me or do you think Tony likes me? ABBY: I think it's more than obvious Tony likes you. KATE: Not my usual type, but kind of cute. ABBY: More like adorable. Maybe we could share Tony? (SFX: DOG GROWLS/BARKS) ABBY: What's wrong? KATE: Oh, nothing. Good doggie. You can come out now, DiNozzo. TONY: (INTO PHONE) Yeah, I'll just, uh... I'll take care of that. Thank you. (TO KATE) Hey. KATE: Did you bring the dog food? TONY: Yeah, they didn't have any bowls. KATE: That's okay. We got it covered. ABBY: Got a present for you, Little Tony. KATE: Good idea. Now we can tell the two of them apart. TONY: At least I don't hang out with married, Kate. KATE: Ah will you please tell him that men and women can just be friends? ABBY: Absolutely they can. TONY: Without having sex? ABBY: Oh, no. They'll have sex. KATE: Abby! ABBY: What, Kate? You never slept with a friend? KATE: What is wrong with you people? GIBBS: Good question, Kate. What did you do to the dog? KATE: Just taking care of her. Unless you want to. ABBY: Here you go, girl. KATE: Wow! She even eats like you, Tony. TONY: Did anybody see my ball cap? KATE AND ABBY: (IN UNISON) No. TONY: I could have sworn I left it right on my desk. (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x15 - Caught on Tape"}	foreverdreaming
FADE IN: INT. BEDROOM - MORNING (MUSIC OVER ACTION/WILLIE SNUGGLES WITH THE WOMAN) WILLIE: Baby, you're freezing. (SFX: KNOCK ON DOOR B.G.) WILLIE: Hey! Hey! Whoa! Whoa! (MUSIC OVER ACTION/WILLIE RUNS TO THE DOOR) (DOOR OPENS) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. AUTOPSY ROOM - DAY "POP LIFE" TONY: I didn't think that you would notice.(SFX: DOORS SLIDE OPEN) KATE: Oh, stealing food is okay if nobody notices. TONY: It's not stealing, it's sharing! KATE: It was my lunch! I didn't want to share my lunch with you. TONY: You see? You just said it was sharing! DUCKY: Excuse me. Show a little respect. This is a place of peace and dignity. TONY: That was before Kate got here. KATE: We need a mediator, Ducky, or I'm going to have to go to Employee Relations. TONY: Which would be tattling. KATE: No, going to Employee Relations is not tattling. TONY: It's the adult version of "I'm telling mommy." KATE: You're so juvenile. TONY: Am not. KATE: Are so. TONY: Am not. KATE: Ducky, we need an unofficial mediator. DUCKY: Did you try Gibbs? KATE: Ooh. DUCKY: Oh yes, I see your point. KATE: We thought of McGee. TONY: But we have no respect for him. KATE: And then we thought of you. DUCKY: I see... third on the short list. Well, at least I bat out Abby. TONY: Well, we just came from there. KATE: She turned us down. DUCKY: Oh. TONY: Come on, Ducky! She's driving me crazy! DUCKY: I am busy, but uh... JIMMY: Abby needs these blood samples stat. DUCKY: Yes, as I say I am busy. But I'm flattered that you would entrust your relationship to me. It will be rather like... marriage counseling. TONY: Oh, well let's not use those words. KATE: Ducky, it is only a working relationship. TONY: So you'll do it? DUCKY: Of course. I would relish the experience. Yes I studied psychology at the University of Edinburgh under Professor O'Donnell. KATE: Okay, so let's start. I left my desk for just a minute, and when I came back, Tony was eating half of my tuna fish sandwich. TONY: Okay, see? See? I'm hungry! We're buddies! It shouldn't be a big deal. It's not a big deal. But little miss tight and twisty pants blows everything out of proportion and it becomes a major deal. KATE: All you left me was the crust! TONY: Well, who is right here? KATE: Come on, Ducky, please! Tell him! DUCKY: We need to look a little deeper. I mean, there is clearly a latent sibling rivalry being expressed by your adolescent and sexually-charged bickering. It all stems from a desperate desire to please a father figure. And I think we all know who that is. KATE: What does this have to do with my tuna fish sandwich? TONY: There's no father-figure, Ducky. (SFX: DOORS SLIDE OPEN) GIBBS: Hey! Why don't you answer your phone? Norfolk Homicide found a body, a female Petty Officer. Come on, let's go! TONY: I'll gas the truck. KATE: I've got the gear. TONY: I prepacked the gear already. DUCKY: Yes, there are clearly issues here. Yes, we need to meet twice a week at least! CUT TO: INT. APARTMENT BEDROOM - DAY MAUCERI: (V.O.) Petty Officer Second Class Amanda King, according to her I.D. (ON CAMERA) Twenty six years of age in the Navy four years. That's as far as I got when we called you. We've got enough things to do around here. Give me a break. I'm trying to quit. (SFX: SUCKING SOUND) GIBBS: Is this the suspect? MAUCERI: Willie Taylor. Tends bar at Sugar Street. We're processing him now. GIBBS: Okay, Duck. DUCKY: Ooh... GIBBS: sab to death? DUCKY: Oh, I think that's a safe assumption. Well, I found something around her nares. Show him, Jimmy. GIBBS: Do I have nares, Jimmy? JIMMY: All mammals have nares, Sir. Openings in your nose. GIBBS: Give that to Abby. Have her I.D. it. JIMMY: Yes, Sir. I didn't mean to imply that you didn't know what nares were... GIBBS: (OVERLAP) I knew that. DUCKY: Yeah, well, the windows are open, the body is naked. Which would allow the heat to dissipate faster. If I were forced to proclaim a-- GIBBS: I'm forcing. DUCKY: Ah... oh three thirty. Oh five hundred. MAUCERI: We had an anonymous nine one one call of a woman screaming in this apartment at five thirty. DUCKY: Or zero five thirty. GIBBS: McGee, see if you can trace the source of the nine one one call. MCGEE: On it. JIMMY: Her lividity has changed. She may have been moved. MAUCERI: The suspect said he flipped her. TONY: Boss, I don't know if you want to see this, but you probably should. Some night. There's got to be three condoms in there. GIBBS: Bag 'em. Get them to Abby. KATE: Spoke to Manda King's C.O. TONY: Bag 'em, Probie. KATE: Said she was a good sailor, straight-laced, a real hard worker. And she was being promoted to the Captain's Yeoman. GIBBS: Personal yeoman to a Navy captain doesn't track with snorting drugs. KATE: No, she told her shipmates that she had business in Norfolk. GIBBS: Didn't say what? KATE: No. GIBBS: Your place or mine? MAUCERI: Mine. CUT TO: INT. OBSERVATION ROOM - DAY WILLIE: Look, on my mother's life, that's not ... CUT TO: INT. INTERROGATION ROOM - DAY WILLIE: ...the girl that I took home last night. GIBBS: You went to bed with one woman and you woke up with another? WILLIE: Mm-hmm. CUT TO: INT. OBSERVATION ROOM - DAY TONY: I hate it when that happens. Never is pretty. Sorry. Oh, come on. You're not going to tell Ducky about that, are you? KATE: Yes, I am. I'm keeping a journal. CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: I suppose that Knfe wasn't your Knfe? WILLIE: No, it wasn't. I actually carry a Swiss Army Knfe. GIBBS: How many drinks did you have? WILLIE: Oh like two or three. MAUCERI: Your blood alcohol level was point one two percent, Willie. CUT TO: INT. OBSERVATION ROOM - DAY WILLIE: All right, look. You got me. I had a few more. CUT TO: INT. INTERROGATION ROOM - DAY WILLIE: You know how it is when you're tending bar. MAUCERI: No, tell me. WILLIE: You act friendly, and people buy you drinks. GIBBS: Which are watered down to make more money? WILLIE: No, we don't do that at Sugar Street, all right? MAUCERI: You pick her up at the club? WILLIE: No. No, I met her in the parking lot. She said she lost her keys. GIBBS: You ever see her before? WILLIE: Nope. I just thought... "Damn. You... you're a lucky bastard." You know what I mean? GIBBS: Did you get her name, lucky bastard? WILLIE: Manda... I think. MAUCERI: Ah, funny. GIBBS: The dad sailor we found in your bed was named Manda. WILLIE: She's not the girl that I slept with. GIBBS: What was Manda's last name? WILLIE: She didn't say. GIBBS: Phone number? WILLIE: I didn't get it. Look, it all went down kind of fast, all right? CUT TO: INT. OBSERVATION ROOM - DAY WILLIE: I gave her a kiss, whoopdy whoop, then it's back to my place to make some noise. CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: Anybody see you two who can verify your story? WILLIE: No. MAUCERI: You and Manda get in a fight? WILLIE: No. Look, we had a good time, all right? MAUCERI: Oh yeah. I'd say you had a real good time. We found traces of meth in your blood. GIBBS: Did you give her meth, too? WILLIE: No. We didn't do any drugs together. (SHOUTS) I am telling the truth. That is not the girl I slept with. CUT TO: INT. ABBY'S LAB - DAY GIBBS: Abs, I need the condoms tested. ABBY: Not the words you want to hear first thing in the morning. It's already running. GIBBS: Not just the inside. I want to make sure the outside DNA is tested and matches that of Petty Officer Manda King. TONY: The suspect claims he went to bed with one woman and woke up with another. ABBY: That happens to girls, too. At night some guy seems all dark and gnarly. And you wake up and his tattoos are fake and he works at a bank. MCGEE: I used to work at a bank. ABBY: Your tat is real and you don't disappoint me. MCGEE: Boss, the anonymous phone call came from a payphone outside Willie's apartment. GIBBS: No fingerprints? ABBY: No. And that's weird. He sleeps with her, he sab her, and there's no prints on the Knfe. GIBBS: Blood matches the victim? ABBY: Yeah. The tox screen is still running, but it's a safe bet that it's methamphetamines. GIBBS: Powder in her nose was meth? ABBY: Yup. KATE: Why would a straight-laced Petty Officer OD on meth? TONY: Maybe she's not so straight-laced? We all have our funky side. Except Kate. Ooh! And you, Boss. I'm sure you have no funky side. GIBBS: Time to find out who the real Manda King was. CUT TO: INT. HOSPITAL ROOM - DAY BEN KING: I never thought Manda would go before me. SAMANTHA: Dad's got end-stage bone cancer. GIBBS: Did your sister know a Willie Taylor? SAMANTHA: Not that I know. But then she's been at sea for eight months. GIBBS: He's not a sailor. BEN KING: Is that who sab my little girl? GIBBS: No, he's a suspect, Sir. BEN KING: You'll burn him, won't you, Agent Gibbs?! GIBBS: If he did it, you have my word. KATE: Mister King, can you tell us a bit about your daughter, Sir? BEN KING: Manda was tough as nails. Worked hard. Cared for me. Helped me to raise her. She would do anything for you. SAMANTHA: Did you know Manda was promoted to Captain's Yeoman? GIBBS: Yeah, she was a fine sailor. Which makes what I'm about to tell you difficult to hear. BEN KING: My daughter's dad. What's worse than that?! GIBBS: We found drug residue in her nose. SAMANTHA: That's a lie! Manda never did drugs in her life! KATE: I'm sorry, but that is what we found. BEN KING: I don't believe. Won't believe it! SAMANTHA: You have to come in here and tell this to my father!? GIBBS: Your sister was mrder. We have to know who she really was. BEN KING: (BREATHLESSLY) She...was my good girl. That's who...who she was. Daddy's girl... good girl. (DOOR OPENS) CUT TO: INT. LAB - DAY GIBBS: Hey, DNA tests done already? ABBY: No, it's running, but I got an answer without it. The fluid on the outside of the condoms has a different blood antigen than Petty Officer Amanda King's. There's no way Petty Officer King had sex with Willie Taylor. GIBBS: Willie was set up. (CUT TO BLACK) MUSIC IN: INT. AUTOPSY ROOM - DAY DUCKY: The Knfe missed her vital organs, so the wound in and of itself was not fatal. GIBBS: She didn't bleed to death. DUCKY: Exactly. Her body contained four liters of blood so there was no exsanguination. GIBBS: Ducky. DUCKY: I'm sorry. It's such a lovely word, exsanguination. I can't help saying it. Moving on, since there was no bleeding from the wound. GIBBS: She was dad when she was sab. DUCKY: Precisely. Abby confirmed the...the drug in her nose and blood was methamphetamine, an incredibly large lethal dose of methamphetamine. GIBBS: Someone tried to make an accidental overdose look like mrder. DUCKY: Oh I wouldn't call it an accidental overdose. No in cases like this where such a frighteningly high amount of the drug is found, I would say it was a su1c1de. (SFX: DOORS SLIDE OPEN) TONY: Boss, Willie Taylor's here. CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: Do you know why Norfolk P.D. delivered you here? WILLIE: Yeah. I'm a ping-pong ball. They serve me to you and you smack me right back. GIBBS: No...no, you are telling the truth. Petty Officer King OD'd. After she was dad someone sab her....put her in your bed, made it look like mrder. Who would do that to you? WILLIE: Wait a second. So you know that I'm completely innocent? Man, don't I get like an apology or nothin'? GIBBS: You get to slide on using methamphetamines. WILLIE: I don't know. GIBBS: That's not good enough. (DOOR OPENS) WILLIE: Wait, wait, wait, wait! Wait! (LONG bat) Look, female sailors are like poison. If anything happens to them, drugs, sex, anything - it doesn't matter - you guys put our club off limits. All right? No sailors, you ain't got no Sugar Street. GIBBS: Who'd benefit from that? WILLIE: Uh... yeah, well Ian Hitch. He owns Teaz and we're his only real competition. If that sailor OD'd in his club, he would need to get the stink off fast. GIBBS: And shut Sugar Street down in the process. WILLIE: That's the kind of stunt that limey bastard would pull, too. CUT TO: INT. SQUAD ROOM - DAY MCGEE: (V.O.) Ian Hitch. AKA Bulldog. American mother, English father. Dual citizenship. (ON CAMERA) According to Scotland Yard, he was charged with mrder twice in Manchester, skated both times. KATE: I'm afraid to ask, why Bulldog? MCGEE: I don't know. TONY: Bulldog bites you on the ass and never lets go. MCGEE: Oh, he owns Teaz in Norfolk. Yeah, when I was stationed there, I heard about it. Apparently there are some very hot dancers there. TONY: You heard? MCGEE: Yeah, well I never went there. Honest. TONY: Duck, hey it seems to me that ... why are you looking at me like that for? KATE: Oh, I'm just waiting for you to say, "Boss, let me take the lead on this one." TONY: What I was going to say, Kate, was that if Hitch used a girl to seduce Willie Taylor, it was probably one of his dancers. We get Willie to identify Ms. Go-Go and flip her to get to Hitch. KATE: What are you doing? TONY: I'm just chronicling this little conversation for our next session with Ducky. GIBBS: Are you done? TONY: Almost. GIBBS: Done or fired are the choices. TONY: Done. KATE: Shall we take Willie to the club to identify the girl? GIBBS: No. I don't want him anywhere near Hitch. MCGEE: Boss, I will find out who dances at the club and pull their DMV photos. GIBBS: Not going to work, McGee. TONY: The girls at the clubs work for tips, Probie. No W-two forms. And names like Tiffany Glitter and Stormy Weathers, they don't appear on drivers' licenses. Boss, I really think I should take...... the lead on this one. (GIBBS AND KATE CHUCKLE) CUT TO: INT. NIGHTCLUB - NIGHT (MUSIC OVER ACTION/KATE AND TONY LOOK AROUND THE ROOM) (BEGIN INTERCUTS/ MTAC ROOM/NIGHTCLUB) (SCENE CUT) ABBY: All right, it's looking good. (SCENE CUT) (MUSIC OVER ACTION/TONY AND KATE MOVE AROUND) (SCENE CUT) GIBBS: Let's see, Tony! Well, what do you know? DiNozzo is finally looking where he is supposed to be looking. (SCENE CUT) TONY: I heard that. How's that? (SCENE CUT) ABBY: Well, it's art, but we kind of need a sht of her face. I can make a fortune on the internet with this. Okay, got it. GIBBS: Next. TONY: (V.O.) Right, boss. (SCENE CUT) TONY: Just being thorough. (SCENE CUT) GIBBS: (V.O.) That's it. (SCENE CUT) (MUSIC OVER ACTION/KATE AND TONY WALK THROUGH THE CLUB) (CAMERA CLICKS) (SCENE CUT) GIBBS: I'm watching you, DiNozzo. (SCENE CUT) (MUSIC OVER DANCING SCENES) KATE: How's that look? (SCENE CUT) ABBY: Uh... closer. (SCENE CUT) KATE: Is this better? (SCENE CUT) ABBY: One second... KATE: (V.O.) Did you get it yet? (SCENE CUT) ABBY: Wow, Kate. (SCENE CUT) ABBY: (V.O./FILTERED) How'd you get her to do that? (DANCING CONTINUING) (SCENE CUT) GIBBS: DiNozzo, go back to the last booth! Yeah, right there. (SCENE CUT) TONY: Is that Hitch? (SCENE CUT) MCGEE: That's him. D.J.: (V.O.) What's up... (SCENE CUT) D.J.: ... Party people! Tonight's going to be hot, but this crowd is even hotter because only the best get into Teaz. I'm D.J. Night Trap and I'm going to get off the mic right now because I know you came here to see.... Jade! (SFX: APPLAUSE) KATE: That's Samantha King. SAMANTHA: (SINGS) Sophisticated lady...but nasty when I wanna be. I see you starin' from across the room. And you can't keep your eyes off me. CUT TO: INT. MTAC ROOM GIBBS: Hey Tony, stop jumping up and down. We can't see! CUT TO: INT. NIGHTCLUB - NIGHT SAMANTHA: (SINGS) ...Like a puppet on a string. Have you in cuffs like cops and robbers, baby, 'cuz touchin' me's a felony - put your hands up 'Cuz I'm cold blooded...boy who does it belong to? Cold Blooded...got you thinkin', "Who's that lady?" But it ain't that complicated...'Thanks, that was fun. Now get out.(SAMANTHA DANCES AS THE CAMERA PANS AROUND THE ROOM) (SFX: APPLAUSE) CUT TO: EXT. STREET - NIGHT KATE: You're taking your sister's death pretty hard, Jade. SAMANTHA: What are you doing here? KATE: The question is, what are you doing here? TONY: What are you afraid of? SAMANTHA: Who are you? TONY: Same as Kate, well, not exactly. KATE: Answer my question. SAMANTHA: It's Saturday night. I sing here okay? KATE: Oh, you sing the day after your sister's mrder? SAMANTHA: I gotta go. TONY: Not unless we get some answers. BOUNCER: (INTO RADIO) Willie, we'd better get out here. KATE: You know how we found you? We were here looking for your sister's mrder. SAMANTHA: You said you had her mrder. TONY: He didn't do it. BLUE MCGINTY: What's going on, Jade? TONY: We're just talking. BLUE MCGINTY: Well not no more you aren't. TONY: Yeah, I think we are. My partner, Lulu, she wants to sign Jade to a record contract. BLUE MCGINTY: Bulldog ain't gonna like that. TONY: Twinkle Toes, Candy Pants, stay behind your mommy. Where did Bulldog get his name? BLUE MCGINTY: When he gets his teeth into a girl's ass, he never lets go. TONY: I knew it. I knew it. Lulu, I was right about Bulldog. SAMANTHA: You're gonna get me klled! KATE: Just like your sister was? Look, we think Hitch had her klled. Why? SAMANTHA: No, he wouldn't do that. I mean, he knew she wanted me to leave this life, but he wouldn't kll her. KATE: Wouldn't he? (TO TONY) Let's go, Bruce! She's not interested. TONY: No harm, no foul. Guess not. (TONY AND KATE CLIMB INTO THE CAR) TONY: Gosh, those guys were big. Big, big, big, big. CUT TO: INT. SQUAD ROOM - DAY WILLIE: She's cute. Yeah, she's hot. I don't know about you but I sleep with a lot of women, so... TONY: I wouldn't know anything about that, Willie. I'm a Mormon. WILLIE: Oh. Oh, I'm sorry. I think it could be this one right here. You know, I was really drunk, so... GIBBS: Sit down. You're going to have to do better. WILLIE: Look man, I'm doing the best I can, all right? All right. All right... yeah, I think it's her. TONY: Summer Diamond. Very hot. GIBBS: You think this is her?! TONY: Look, there's always something about every woman that you remember. Something small and subtle. Something you're going to remember twenty years later; a piece of jewelry, a laugh, something. A smell... KATE: Uh! I feel like I died and woke up in a Calvin Klein ad. WILLIE: I thought you were a Mormon? TONY: Concentrate, Willie. WILLIE: Ah... ah, yeah. She had a tat. How could I forget? TONY: What did it look like? WILLIE: It was of a bulldog. It was ... it was right there on her ass. TONY: Sweet slick Willie, look at that. The devil is in the details. I remember this girl once. She squeaked. She made this little (SQUEAKS)... KATE: Tony, do you want to tell Ducky that story? GIBBS: Ducky's already heard it. We all have. TONY: It's a good story! GIBBS: Then you tell it to Kate while you're bringing in Summer Diamond. WILLIE: Wait, don't I get to hear it? CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: Do you recognize this man? SUMMER: Nope. GIBBS: He works at Sugar Street. Ever been there? SUMMER: I work six nights a week at Teaz. Last place I'm going to go on my night off is another club. GIBBS: You recognize this? Agent Todd took that photo. CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: It is of your rear end. TONY: You always get the best jobs. GIBBS: (V.O.) Willie described it perfectly. CUT TO: INT. INTERROGATION ROOM - DAY SUMMER: I dance practically naked. Hundreds of guys have seen my ass. GIBBS: So you didn't sleep with him two nights ago? SUMMER: No. GIBBS: Willie says he's never been to your club. You know what? I believe him. SUMMER: Every dancer in the club has that tat. It means we're in Bulldog's crew. GIBBS: I'd have thought he'd use a bite mark. (KNOCK ON DOOR) GIBBS: Enter! We have a court order for a DNA sample, Ms. Diamond. (DOOR OPENS) ABBY: Open your mouth. It doesn't hurt. CUT TO: INT. CORRIDOR - DAY GIBBS: Compare it to the DNA found on the condoms in Willie Taylor's apartment. DUCKY: Jethro! Jethro! I need you. I need you like now! CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: I'm sorry, Jethro. Because of the chemical burns from the methamphetamines and the bleeding, I ...I missed this. There. There! Do you see it? GIBBS: Almost a perfect circle. DUCKY: I know I said that the cause of a massive overdose was usually su1c1de, but then I got to thinking. GIBBS: Always a good thing. DUCKY: I mean, that mark was made by the end of a hard round cube... like the end of a funnel. GIBBS: You don't commit su1c1de by pouring meth through a funnel into your nose. DUCKY: No. It was a horrible, painful death. (MUSIC OUT) FADE IN: INT. DINER - DAY SAMANTHA: Do you know what'll happen if he finds out I'm talking to you? KATE: Don't you want to know how your sister died, Samantha? SAMANTHA: She was sab? KATE: Yes, she was. That wasn't what klled her. Your sister was restrained and methamphetamine was forced down her nose and her throat until her heart failed. SAMANTHA: Oh, god. KATE: Willie Taylor believes that he's been framed for her mrder by your boss, Ian Hitch. SAMANTHA: Bulldog wouldn't. He... KATE: Why not? Sugar Street gets declared off limits and Club Teaz gets a huge surge of new clientele. But that isn't why it happened, is it, Samantha? SAMANTHA: My mom died when I was three, Agent Todd. Manda practically raised me. When she found out I was working for Hitch, she lost it. KATE: How'd you get hooked up with a guy like that? SAMANTHA: He said he had connections with record companies, that he'd make me a star. I believed him. KATE: But your sister didn't. SAMANTHA: She was always the smart one in the family. KATE: Well why don't you just walk away? SAMANTHA: I signed a contract with him. Manda was trying to get me out of it. KATE: And he had her klled. Look, we've got to get you someplace safe. SAMANTHA: You don't get it, do you? Hitch owns me! I sing when he wants, dance when he wants. I sleep with him when he wants. No one walks away from him. Ever. KATE: He mrder your sister, Samantha! SAMANTHA: And you'll never prove it. They never do. (SFX: CELL PHONE RINGS) SAMANTHA: It's him! KATE: Don't answer it. SAMANTHA: I have to. HITCH: (V.O./FILTERED) What are you doing, love? SAMANTHA: (INTO PHONE) Some shopping, baby. HITCH: (V.O./FILTERED) Really? It looks like having a spot of tea to me. SAMANTHA: If he finds out you're a cop, I am dad. (DOOR OPENS) HITCH: Lulu, I presume. Didn't get my message last night? Jade here already has a manager. SAMANTHA: That's what I told her, Ian. HITCH: Did I ask you to speak, love?! So tell me, what label do you scout for? KATE: Well that's none of your business. HITCH: Oh, it is if you're after my property. KATE: Is she available? HITCH: Only to me. Say "Goodbye Lulu", love. SAMANTHA: Goodbye, Lulu. HITCH: You and your friend Bruce might want to leave town tonight. CUT TO: INT. SQUAD ROOM - DAY GIBBS: You should have had backup yesterday, Kate. KATE: Well, I didn't expect Hitch to show up, Gibbs. It won't happen again. GIBBS: I know. McGee, how'd he track her? MCGEE: Well, Samantha's cell phone number is registered to Ian Hitch. So he's probably using the imbedded GPS to keep tabs on her location. GIBBS: Paranoid. TONY: Kind of reminds me of someone. What I meant was most managers are afraid of losing their stars. With a voice like that, Samantha could be the next Brandy. GIBBS: What's a Brandy? MCGEE: Uh... she's a singer and an actress, Boss. TONY: She's very, very hot. KATE: Look, the point is Hitch isn't going to let her go. He'd kll her first. (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. We're on our way. (TO KATE) Norfolk homicide found the body of a young woman. She had my card in her bra. MUSICAL BRIDGE TO: EXT. ALLEY - DAY MAUCERI: We just I.D.ed her. Keisha Scott. Looks like a ht-and-run, Gibbs. GIBBS: Her club name is Summer Diamond. She was in our interrogation room yesterday. KATE: Willie Taylor I.D.ed her as the girl he had sex with, not Petty Officer King. MAUCERI: She cop to it? GIBBS: If she did, she'd be in NCIS custody instead of dad. MAUCERI: No chance this was an accident. GIBBS: Nope. KATE: Ian Hitch is involved. MAUCERI: Bulldog? That explains a lot. No witnesses, nobody in the neighborhood heard anything last night. He's got this part of town in his pocket. GIBBS: Yeah, how about you? MAUCERI: I'll pretend I didn't hear that, Gibbs. GIBBS: Either way I'm taking him down. MAUCERI: You might find who did this, but connecting him to Bulldog? Uh-uh, ain't gonna happen. GIBBS: Well, no. Not if you keep letting him skate, Mauceri. MAUCERI: Hey, I've been down this road before, Gibbs. I bring him in for questioning, his lawyer will have him out before lunch. GIBBS: I've got a better idea. MAUCERI: Yeah? GIBBS: Yeah. You turn jurisdiction over on this to me this time. MAUCERI: You got it. How soon can you get the rest of your team here? GIBBS: Oh... pretty soon. (WHISTLES) (SFX: VAN BRAKES TO A STOP) (PASSAGE OF TIME) TONY: No way this was ht-and-run, boss. She's practically naked. It was thirty-five degrees this morning. DUCKY: Do you see that, Mister Palmer? Someone was holding her arms tightly before her death, enough to cause these bruises. GIBBS: She was shoved in front of a vehicle, Duck? DUCKY: It's possible. We'll know more when I get the poor girl back home. KATE: We've got some broken glass over here. Looking at the thickness, may be a headlight. GIBBS: Bag it. McGee! MCGEE: Yeah, Boss? GIBBS: Locals think it was a ht and run. What about you? MCGEE: Me? Um.... Me? Uh... TONY: Answer the man, Probie! MCGEE: I don't think so. GIBBS: Why? MCGEE: Well, there are no skid marks before or after the body. Whoever ht her didn't even slow down. GIBBS: Kate, take DiNozzo and pick up Samantha. Make sure her cell phone is off. Don't tell her about Summer. CUT TO: INT. SQUAD ROOM - DAY GIBBS: I want to know where this dirtbag was the night Petty Officer King was mrder, and where he was last night when Summer decided to go for a walk half-naked. MCGEE: You got it, Boss.(SFX: DOORS SLIDE OPEN) SAMANTHA: It's supposed to be my day off. How do you know Hitch won't find out I'm not at the hospital with my father? KATE: He won't. TONY: When our computer geek's done with your phone, it'll show you were there all day. Probie, rig the GPS chip. Location: Norfolk Hospital, room two seventeen thirty. SAMANTHA: You can really do that? MCGEE: Sure. SAMANTHA: I've already told your people I'm not talking about this, Agent Gibbs. So can we please make this quick? GIBBS: You're not here to talk. You're here to see. SAMANTHA: What? GIBBS: A friend. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY (SFX: UNZIP) SAMANTHA: Oh, god, Summer. Summer, this is not happening. How did this--? GIBBS: How do you think? SAMANTHA: She has a two year old. Even Bulldog-- TONY: Bulldog's tying up some loose ends, Samantha. KATE: All you have to do is cooperate with us and we'll take him out of your life for good. SAMANTHA: I can't. Don't you understand? GIBBS: Your sister is in the freezer. Maybe you'd like to say goodbye. SAMANTHA: Summer talked to you! That's why she's lying on that slab! It's not happening to me! GIBBS: You're right. It's happening because of you! SAMANTHA: Okay, either charge me with something or I'm out of her. Now! MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY TONY: You're making a big mistake, Samantha. KATE: Once you walk out those doors, we can't protect you. MCGEE: Boss, Hitch's got a very good alibi for last night. He was in New York promoting his club. The photos here are from the gossip page of The Eastsider this morning. I checked with the airlines. He didn't get back until eleven hundred today. SAMANTHA: He always wins. I tried to tell my sister that. She didn't listen. I hope you do before I end up dad, too. (MUSIC OUT) FADE IN: INT. AUTOPSY LAB - DAY GIBBS: (V.O.) Cause of death? DUCKY: (V.O.) Well, she received several fatal injuries consistent with vehicular homicide, and if I had to pick one... internal bleeding. (ON CAMERA) Although her neck was broken on impact, damaging her spinal cord and a carotid artery. I'm afraid even if you'd survived, my dear, you would never have danced again. GIBBS: Drugs? DUCKY: Well, the tox screen showed a mixture of methamphetamine and alcohol in her blood. Not enough to kll her like our Petty Officer. GIBBS: What about the bruising? DUCKY: Well, these bruises here on her arms were made by somebody holding her tightly. I wish I could tell you more. GIBBS: Yeah, Duck. So do I. DUCKY: Jethro, there is a procedure Abby could use to lift the fingerprints off these bruises. GIBBS: Off of dad skin? DUCKY: Yeah. Only we'd need your approval. GIBBS: Why? DUCKY: Well, it's prohibitively expensive and rarely works. GIBBS: So is getting married. Do it! CUT TO: INT. SQUAD ROOM - DAY TONY: (V.O.) Are you done yet? MCGEE: I'm going as fast as I can. Do you mind? TONY: No. MCGEE: Now I'm done. TONY: Okay, put her on the plasma, Probie. Oh, did you really make these yourself, Kate? KATE: I did. TONY: Because they're delicious. I didn't know you could cook. KATE: Well, technically it's baking. And there's a lot about me you don't know, Tony. MCGEE: Hey Kate, could I try one? KATE: Of course, McGee! I made enough for all.... Tony, there were a dozen in here. TONY: They're really delicious. GIBBS: Okay, what do you have for me? MCGEE: A way to keep tabs on Samantha King's location, boss. Uh... I think that one was for... When I... when I rigged the GPS chip in her phone, I also downloaded the code. So now we can follow her anywhere she goes. TONY: She's twenty miles outside of Norfolk on Route Sixty-four. GIBBS: Good work, McGee. That's a good job. MCGEE: Thank you, Boss. But actually it was Tony's idea. GIBBS: I'm impressed, DiNozzo. TONY: Just trying to help out, Boss. (bat) That's so not right. GIBBS: McGee, Abby's need help. Tony, Kate, you're with me. KATE: Where are we going? GIBBS: Norfolk. We're going to pay Ian Hitch a visit. KATE: What about blwing our covers as talent scouts? GIBBS: Samantha is leaving with us. TONY: She changed her mind, Boss? GIBBS: It does not matter. I'm not letting her end up like her sister downstairs. CUT TO: INT. AUTOPSY ROOM - DAY JIMMY: So how is this supposed to work exactly? ABBY: Good question. I've never actually done it on a body before. We'll figure it out together, Jimmy. JIMMY: Oh, please. Call me Jimmy. ABBY: I just did. JIMMY: Oh, sorry! I guess I didn't hear you. ABBY: So this stuff is basically Super Glue. It bonds instantly with almost anything. And then when it's heated, the vapors are attracted to proteins and fats left behind from a human fingerprint. And when they dry, you can just peal them off like a sticker. JIMMY: That's... oh... oh... I'm sorry! I'll get it!(JIMMY KNOCKS THE GLUE TO THE GROUND) ABBY: I got it. JIMMY: Oh! Sorry, oh... oh... I'm sorry. It's my fault. My fault. ABBY: Um... okay. You know, I think that this would be better if I just did this by myself. JIMMY: I was only trying to observe. ABBY: Okay. You can let go of my arms now. JIMMY: Right. Oh um... I'm trying. ABBY: Well try harder, Jimmy! JIMMY: I can't um... uh... I'm stuck. Ah... (SFX: DOORS SLIDE OPEN) MCGEE: Palmer, what the hell are you doing?! ABBY: McGee, acetone and Band-Aids, fast! CUT TO: INT. CAR - MOVING KATE: I'm tracking her GPS signal, Gibbs. Samantha's back at the club. GIBBS: DiNozzo.(SFX: SNORING B.G.) KATE: I'll wake him up. GIBBS: No. No. I've got a better idea. Hold on. (SFX: CAR TIRES SCREECH) KATE: (CHUCKLES) Bad dream, Tony? TONY: I thought I...I thought... GIBBS: Call Abby, see if she got any prints off the body. TONY: Sure, Boss. CUT TO: INT. ABBY'S LAB - DAY ABBY: You know, you didn't have to yell at him. Jimmy is terrified of you now. MCGEE: He is? Cool. ABBY: This is the last print. It's a partial from the right bruise. Any luck with the print from the left arm, He-Man? MCGEE: Still running them through AFIS. Look, I'll apologize to him later. Just - ooh, we've got a match. It's one of Hitch's bouncers, Richard "Blue" McGinty. CUT TO: INT. CAR - PARKED TONY: (INTO PHONE) All right, I got it. Thanks, Abby. (TO GIBBS) They got a print off Summer's body. It's the bouncer from outside the club the other night. (SFX: TIRES SCREECH) CUT TO: INT. DRESSING ROOM - DAY MCGINTY: Jade, Bulldog wants to see you. Are you okay, sweetheart? SAMANTHA: I don't know how much more of this I can take, Blue. MCGINTY: When you're a star this will all seem like a bad dream. SAMANTHA: I'm having second thoughts about the dream. MCGINTY: It's kind of late for that, isn't it, Samantha? CUT TO: EXT. BUILDING - DAY (SFX: CAR BRAKES TO A STOP) (CAR DOORS CLOSE) CUT TO: INT. HITCH'S OFFICE - DAY SAMANTHA: You wanted to see me? HITCH: Close the door, Jade. It seems that Lulu isn't a talent scout after all. She's a Navy cop. SAMANTHA: I didn't know, Ian. I swear. HITCH: What did you tell them? That I klled your sister? SAMANTHA: I didn't tell them anything. HITCH: Now why don't I believe you, Jade? CUT TO: INT. BUILDING - DAY KATE: She's inside. CUT TO: INT. HITCH'S OFFICE - DAY SAMANTHA: If you sh*t me, they'll know it was you, Ian. HITCH: Tell me the game you're playing and I'll try to have that in mind then. SAMANTHA: I'm not playing any games! HITCH: That's not what Summer said. Did you know she's dad? Oh, of course you do. CUT TO: INT. BUILDING - DAY (SFX: gn B.G.) (MUSIC OVER ACTION/ SCREAMING WOMEN RUN FROM THE BUILDING) (KATE/TONY AND GIBBS MOVE TOWARD THE OFFICE) CUT TO: INT. HITCH'S OFFICE - DAY (DOOR OPENS) GIBBS: Put the wapon down! MCGINTY: He was going to kll her. I didn't have a choice. GIBBS: Drop it! CUT TO: INT. LAB - DAY (SFX: BEEP TONES) GIBBS: Do you have everything ready for shipment to Norfolk? MCGEE: Working on it. ABBY: It might be a problem, though, Gibbs. GIBBS: What kind of problem? ABBY: I got back Summer Diamond's DNA, and it does not match the DNA we took off the condoms at that first crime scene. GIBBS: She didn't set Willie Taylor up? MCGEE: Nope. ABBY: The weird thing is I did get a near match from the Armed Forces DNA Registry. GIBBS: He was set up by a sailor? MUSICAL BRIDGE TO: INT. HOSPITAL ROOM - DAY SAMANTHA: I'm going to make you proud, Daddy, just like you were of Manda. Everybody's going to know my name. BEN KING: I was always proud of you, Sammy. My baby... the pop star. Wish I... wish we could be around to see. Manda always loved your singing. GIBBS: We need to talk. Outside. CUT TO: INT. CORRIDOR - DAY SAMANTHA: He only has a few hours left, Agent Gibbs. Is this about Blue? GIBBS: It's about you. Summer Diamond didn't set your sister up. Were you going to split the money with Blue? KATE: Or record a demo with it? TONY: We know, Samantha. Your big sister told us. KATE: Or more appropriately, her DNA. There's a seventy percent match of the DNA found on the condoms in Willie Taylor's apartment. TONY: Only a sibling could be that close. KATE: We also had access to your phone, Samantha. TONY: Guess where the GPS chip puts you on the nights your sister and Summer Diamond died? GIBBS: Setting up Ian Hitch was a nice touch. TONY: It gets you out of that crappy record contract you signed, and you get all your dad's money. SAMANTHA: She's dad and still screwing with my life. GIBBS: You want to say goodbye to your father? If I were you, I'd keep lying to him. CUT TO: INT. HOSPITAL ROOM - DAY BEN KING: I always believed in you, even when your sister didn't. You're gonna make it. You are going to be famous. I can feel it. (SFX: SOLID BEEP TONE) SAMANTHA: That's right, Daddy. I'm going to be a real star. (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x16 - Pop Life"}	foreverdreaming
FADE IN: EXT. APARTMENT COMPLEX - DAY DONOVAN: (INTO PHONE) It's always about him. He called me at seven thirty last night, expecting me to drop whatever I was doing, just because he was available. No, I didn't have any plans, but that's not the point. I'm not crazy about his friends, either. None of them are married. The point is I know where this is leading. Nowhere. Yeah, I guess so. Give me a half hour to wash up. I'll meet you there. No, I'm listening. Somebody sent me a package. I don't know. Whatever it is... it's cold. (DONOVAN SCREAMS) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. AUTOPSY ROOM - DAY "AN EYE FOR AN EYE" DUCKY: My my... you are hypnotic, aren't you? No thank you, Mister Palmer. Better to poke around with these. Did you know the word autopsy comes from the Greek, meaning to see for one's self? JIMMY: They didn't offer Greek at my high school. DUCKY: Oh perhaps we should try Latin then. Are you familiar with the term keratoplasty? JIMMY: Ah, cornea transplant surgery. DUCKY: Oh, then your education did pay off. JIMMY: My mother will be pleased to hear that. (SFX: DOORS SLIDE OPEN) GIBBS: What do we know, Duck? DUCKY: I've only just started, Jethro. How did these come into our possession? GIBBS: They were in a package delivered to a Petty Officer. Mailman put them in the wrong box. Neighbor opened them up and scared the hell out of her. DUCKY: I should imagine so. Well, these have been enucleated, and preserved with skill and care by a surgeon. Assuming they're as healthy as they appear, transplantation would be the inevitable conclusion. I don't necessarily need your body to discover what happened to you. They say that the eyes are the windows to the soul. CUT TO: INT. SQUAD ROOM - DAY KATE: Wow. I'm impressed. You can actually sleep with your eyes open. TONY: Yeah, I'm meditating. KATE: Yeah, on how much you drank last night or trying to remember her name. TONY: I don't kiss and tell, Kate. MCGEE: Since when? I know more about your sex life than I do my own, Tony. TONY: That's not hard to believe, Probie, considering you don't have one. KATE: Gibbs wants to know everything there is to know about this package. And if I were you I wouldn't let him catch you napping. TONY: Thanks for the advice, but I got it covered. GIBBS: Anybody, talk to me. KATE: Well, I'm checking with eye banks and the MTCs that handle tissue and organ donation. GIBBS: Any of them missing a set of blue eyes? KATE: Well, I haven't heard back from them yet. MCGEE: Ah... no return address on the package, Boss, but I did contact the post office. GIBBS: Yeah, and? MCGEE: They are running the tracking number from the barcode. Yeah, I'm going to call them back right now. TONY: TONY: Package was addressed to a Petty Officer Second Class Benjamin Horlacher, stationed in Dam Neck. Currently on a seventy-two, due back tomorrow. Now that's a seventy two hour leave there, Katie. He's a student at the Navy and Marine Corps Intelligence Training Center. Been living at that address since last September. Military records are clean. (CONT.) The only things that stand out are a speeding ticket two months ago and he didn't pay is cable bill last week. GIBBS: Good to know somebody is working around here. KATE: (INTO PHONE) Thank you. (TO GIBBS) So far no one's reported missing a pair of cobalt blues, Gibbs. MCGEE: The package was shipped two days ago from Ciudad del Este, Paraguay. TONY: Paraguay. The T-B-A. That's the Tri-Border Area. It's where Paraguay, Argentina, and Brazil meet. It's a base of operations for smugglers, drug trffick, illegal organ trffick. GIBBS: And Hezbollah and Al Qaeda cells. TONY: All right, we'll meet you out front, Boss. We're going to Dam Neck! KATE: You didn't move all morning. How did you know that? TONY: Work smarter, not harder, Katie. You'll live longer. Probie, I want to know who shipped that package from Paraguay soon as I get back. MCGEE: You got it Boss - uh, Tony. TONY: Let's move it, Kate! CUT TO: EXT. APARTMENT COMPLEX - DAY ROBINSON: Believe me, this isn't the first time that fool mailman put stuff in the wrong box. I got a video of some college girls just last week flashing their you-know-whats. KATE: When's the last time you saw Petty Officer Horlacher, Ma'am? ROBINSON: A couple days ago. TONY: What can you tell us about him? ROBINSON: He's quiet. He keeps to himself. He's got a girlfriend. GIBBS: Do they live together? ROBINSON: Who knows these days? She comes and goes. I think he made her a key. It's a violation of the lease, but I looked the other way. GIBBS: We'd like to look at Horlacher's apartment. Is that a problem? ROBINSON: Considering what was in that package? Please do. I see you're not wearing a wedding ring, Agent Gibbs. Maybe you'd like to inspect that video with me when you're done? TONY: He is single. CUT TO: INT. APARTMENT - DAY ROBINSON: Now how does a fine man like that stay single? KATE: Well, he didn't. He's been married three times. ROBINSON: Hmm... KATE: I'll let you know when we're finished, Ms. Robinson. ROBINSON: Okay. (DOOR CLOSES) KATE: Wow. I'll take the bedroom. GIBBS: This guy is already in trouble. Girlfriend's taken over. TONY: Maybe not. klling Fields, Undercover Agent. KATE: (V.O.) There's make up in the bathroom. (ON CAMERA) There's women's clothes in his closet. But I can't say much for her taste. GIBBS: Let's see if we can find out her name. KATE: Right. (DOOR OPENS) HORLACHER: Who the hell are you? GIBBS: Petty Officer Benjamin Horlacher? NCIS. HORLACHER: What's going on, Sir? GIBBS: We're here to investigate a package delivered to you, opened by mistake by your neighbor. Sent from Ciudad del Este, Paraguay. TONY: It contained human organs. A pair of eyes. HORLACHER: Eyes? You've got to be kidding me, Sir. GIBBS: Where've you been the last couple of days, Petty Officer? HORLACHER: On a seventy-two, visiting my family in New Jersey. TONY: You're training to be an intelligence analyst at Dam Neck? HORLACHER: Yes, Sir. TONY: What area of the world do you cover there, Petty Officer? HORLACHER: Central and South America. KATE: Have you ever been to Paraguay? HORLACHER: Never. Look, I don't know what's going on here, but I'm sure there's... GIBBS: Maybe your girlfriend does. HORLACHER: I don't have a girlfriend. KATE: So what woman is keeping all of her clothes in your bedroom? HORLACHER: We broke up a month ago. She hasn't come back yet to pick up her stuff. I'm telling you I don't know anything about eyes. Shouldn't you have a warrant or something to be in here? GIBBS: You keep yourself available, Petty Officer. We'll have more questions for you. HORLACHER: Yes, Sir. (DOOR CLOSES) CUT TO: EXT. APARTMENT - DAY KATE: There was an open lipstick in the bathroom. The girlfriend's still living there, Gibbs. TONY: Definitely hiding something. GIBBS: Oh, yeah. TONY: So why are we letting him walk? GIBBS: We're not. You two are staying here. Watch him. I want to know what he does next. (INTO PHONE) Yeah, Abs?(PHONE RINGS B.G.) (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) DUCKY: Jethro, can you hear me? ABBY: He can hear you. GIBBS: (V.O./FILTERED) What do you got? DUCKY: Well, I... I'm sorry. Ladies first. ABBY: That is so sweet. DUCKY: Oh it's a pleasure, I'm sure. GIBBS: (V.O./FILTERED) Today, Abby. ABBY: Okay. (V.O./FILTERED) So I ran the DNA (ON CAMERA) through AF-DIL. I didn't get a match, but we can definitely start calling ol' Blue Eyes a Jane Doe. Those babies are female. DUCKY: And yes, I think you'd like to know that Ms. Doe gave up her eyes un-willingly. (SCENE CUT) GIBBS: (INTO PHONE) How do you know? DUCKY: (V.O./FILTERED) Well, at first blush the eyes... (SCENE CUT) DUCKY: ...Seemed flawless. But careful dissection showed a large intraorbital hematoma. (SCENE CUT) GIBBS: (INTO PHONE) Meaning? DUCKY: (V.O./FILTERED) Jethro... (SCENE CUT) DUCKY: If you slice into an eye like you would, say an egg, you risk nicking the blood vessels. But if you gingerly peal apart the eye layer by layer like an onion... (SCENE CUT) DUCKY: (V.O./FILTERED) ... Then you can be sure... GIBBS: (INTO PHONE) Ducky, the short version. (SCENE CUT) DUCKY: Cardiac arrest. I found abnormally high levels of potassium in the vitreous and (V.O./FILTERED) Choroids of both eyes. I'd say (ON CAMERA) she was most likely poisoned. Jethro, did you know (V.O./FILTERED) that corneal transplantation dates back to nineteen oh five? (ON CAMERA) One source of tissue back then were prisoners on death row. Who - Jethro? (BEEP TONE) ABBY: He's not there. DUCKY: Oh, we lost the connection. ABBY: No, he hung up. DUCKY: Oh. ABBY: But you can tell me the rest of the story. Go back to the part where you were peeling the layers off the eyeball. CUT TO: INT. CAR - PARKED KATE: Wake up! TONY: I am awake. KATE: Would you turn the heat up, please? I'm freezing. TONY: Can't. Smoke from the tailpipe would give away our position. KATE: Great. Can't feel my legs here. TONY: We could do what the Eskimos do to keep warm. KATE: What's that? TONY: They press their bodies together. Of course, the effect is greatly improved if you're naked. KATE: There's not enough liquor on the planet to make that happen, Tony. TONY: I wasn't suggesting the naked part. But if you want to freeze... freeze. KATE: I need a vacation. TONY: Where would you go? KATE: Ooh, someplace warm. Somewhere where there's no cell phone reception. TONY: The tropics. KATE: Oh yes. The tropics would be nice. Horlacher's light just went off. TONY: Well, he's probably going to bed. It's midnight. KATE: I'm glad. Do you think we're going to have to stay here all night? TONY: Why don't you call Gibbs and find out? KATE: Why don't you call Gibbs and find out? TONY: Because I know the answer. KATE: Oh, I need a vacation. (SFX: gn) (CAR DOORS OPEN) (MUSIC OVER ACTION/KATE AND TONY RUN TOWARD THE APARTMENT) ROBINSON: What the hell!? KATE: Get back in your apartment! CUT TO: INT. APARTMENT - NIGHT (DOOR CRASHES OPEN) (DIALOGUE ON TV CONTINUES AS TONY AND KATE WALK TO THROUGH THE APARTMENT) WOMAN ON TV: I'm blackmailed. MAN ON TV: You always did over-dramatize things. Let's say you're just taking out insurance. WOMAN ON TV: I haven't any money. Not the kind you want. MAN ON TV: No? WOMAN ON TV: No. MAN ON TV: But your adopted family has. WOMAN ON TV: You think I'd ask them for money for you? MAN ON TV: You don't ask. You're a woman, aren't you? Use your head. WOMAN ON TV: No. CUT TO: INT. BEDROOM - NIGHT TONY: Clear. WOMAN: No, I won't do it. TONY: He had a secret all right. (MUSIC OUT) FADE IN: INT. BEDROOM - DAY GIBBS: What do you have, Duck? DUCKY: Well, it's a sad situation, Jethro. Even in today's enlightened age, transexualism is terribly misunderstood. His identity as a male... JIMMY: Doctor? DUCKY: Yes, Mister Palmer? JIMMY: I think Agent Gibbs was referring more to the forensic aspect of the... situation. Maybe. DUCKY: Has head-slapping been effective for you, Jethro? GIBBS: Yeah, look at the way DiNozzo turned out. DUCKY: Now the pattern of gn residue on the exit wound on his back suggests the wapon was held directly over the heart. Death was instantaneous. In all probability, he took his own life. MCGEE: Boss, don't most suicides sh*t themselves in the head? GIBBS: Men. Not women. MCGEE: I guess he didn't think of himself as a man. KATE: She must have known that her secret was going to come out. TONY: Don't you mean he must've known that his secret was going to come out? KATE: Psychosexually speaking, Tony, Horlacher was a woman trapped in a man's body. And when she klled herself, she freed herself. Thus the note. MCGEE: Hey, you know what this reminds me of? Pacci's suspect that we were staking out last year. KATE: That's right! The beautiful pre-op transsexual who seduced Tony. TONY: She didn't seduce me. I was undercover. KATE: Yeah, well didn't you stick your tongue down... TONY: I took one for the team, all right? Someone had to keep her occupied. MCGEE: Don't you mean him? (KNOCKS OVER COFFEE CUP - LONG bat) I'm sorry. Sorry, Boss. Uh... I'm sorry. I'll get you a fresh one. It was black, right? Black it is. GIBBS: You didn't see anyone else enter or leave? KATE: No. She was here alone. GIBBS: All right, check his phone records. Maybe he made some other phone calls while he was deciding to off himself. TONY: Already on it. I'll have them tomorrow. KATE: I'm thinking there was no girlfriend, Gibbs, that he was just living a double life. TONY: Puts a whole new spin on don't ask, don't tell. GIBBS: And I'm more interested in the cross-dressing sailor who's getting body parts in the mail spin. Get he-she's laptop to Abby. CUT TO: INT. LAB - DAY ABBY: Hey, Gibbs! You're just in time. Okay, from the outside it looks like a normal laptop. But on the inside... voila! Fortified with the kind of data encryption that only someone with something to hide would have. MCGEE: The Petty Officer's protocols are more sophisticated than any P-G-P or D-E-S software I've seen. ABBY: At first, we didn't even understand his obfuscation algorithm! MCGEE: Really hardcore stuff. ABBY: Very, very hardcore. GIBBS: Did you get in, or not? ABBY: Yeah. MCGEE: And no. ABBY: There's just one layer we haven't cracked yet. MCGEE: But we did get Petty Officer Horlacher's blog. ABBY: It's a personal internet journal. Web log. Blog. Get it? GIBBS: Pig Latin? MCGEE: Actually, that would be ebway oglay. Pig Latin adds way to words starting with vowels, and ay to words starting with consonants after moving the part of the word ... but I'm sure you knew that already. GIBBS: Did the blog say anything useful? ABBY: It's mostly men are from the Mars' stuff. He was very interested in the differences between men and women. GIBBS: Men are from where? ABBY: Mars, Gibbs, and women are from Venus. MCGEE: It's a famous book about relationships and communication between the sexes. ABBY: There was a TV show, and a board game, and the guy wrote like ten sequels. I'm beginning to understand why you were married three times. GIBBS: Abby? ABBY: Come look at it for yourself. GIBBS: (READS) Inside every good man there is a better woman. L-O-L? MCGEE: That's laughing out loud. Which, of course, can be topped by- ABBY: R-O-T-F-L-O-L. MCGEE: Rolling on the floor laughing out loud. GIBBS: Keep looking. Horlacher was leading two different lives. I want to know everything there is to know about both of them. A-S-A-P! ABBY: Onway itway, ibbsgay! CUT TO: INT. SQUAD ROOM - DAY KATE: (V.O.) There was a time I would have klled for a pair of eyes like that. TONY: You think she was a blonde or a brunette? KATE: What difference does it make? TONY: I love brunettes. I'll bet she was beautiful. KATE: Are you telling me that you're attracted to a disembodied set of eyeballs? TONY: Weird, huh? KATE: More like disturbing. TONY: It's kind of like that movie Laura. KATE: Laura? TONY: Yeah. Old movie by Otto Preminger. It's about a cop who falls in love with a painting of a girl whose head's been blown off by a gn. KATE: Sounds romantic. TONY: You have no idea. Jean Tierney was a goddess. GIBBS: What do we have? KATE: Well, I called Petty Officer Horlacher's family. He lied about paying them a visit over the weekend. They hadn't heard from him in over a year. TONY: Still can't find a connection to Paraguay, Boss. He never deployed overseas. Doesn't even have a passport. KATE: Yeah, and what I want to know is how a suicidal trnsvstite attended a top-secret intelligence school without anybody noticing. GIBBS: You contact his faculty advisor yet? KATE: I was just about to. TONY: Name's Lieutenant Commander Guyman Purcell, Retired. Got his PhD in South American studies. I think we should interview him. GIBBS: Yeah? Why's that? TONY: According to Horlacher's phone records, he called the Commander right before he klled himself. GIBBS: That's good work, Tony. Get the car.... Kate. CUT TO: INT. LECTURE HALL - DAY (SFX: BOARD SLIDES) PURCELL: Okay, now that we've learned a little bit about recruiting double agents, let's take a moment to consider some of the risks involved. Anybody? GIBBS: DiNozzo, would you like to become left-handed? KATE: You going for your brown-nose badge this week? TONY: You're just jealous 'cause it's working. PURCELL: Yes, Ms. Ellsworth. What kind of a risk does a double agent pose? ELLSWORTH: He could double cross you back, Sir? PURCELL: Exactly. You have just convinced someone to betray that which he holds dearest. His country. His family. Perhaps even himself. These are weak-minded individuals. If your recruit proves untrustworthy, he must be either coerced or abandoned. But nothing can jeopardize the mission. CUT TO: EXT. BUILDING - DAY PURCELL: Petty Officer Horlacher is a decent student. That's all I know about him really. GIBBS: Did you cover Ciudad del Este in your class? PURCELL: The Tri-Border Area. Of course, why? GIBBS: Horlacher got a package from there. KATE: Inside were a pair of human eyes. TONY: Cut out of a woman's head. PURCELL: God, that's horrible. What did the Petty Officer say about it? GIBBS: Claims to not know anything about it. KATE: Did you ever spend personal time with him outside of class, Mister Purcell? PURCELL: In my field, the students tend to see their instructors as larger than life. It's best not to get too attached. GIBBS: So that would be a no? PURCELL: Am I being interrogated for some reason? GIBBS: Depends. PURCELL: On what, Agent Gibbs? GIBBS: Why he called you last night. PURCELL: Many of my students call me at home. Last night Benjamin wanted to know if I'd give him an extension on a paper due this week. GIBBS: Did you give it to him? PURCELL: Yes. GIBBS: Good. He could use it. PURCELL: He's in trouble? GIBBS: He's dad. KATE: klled himself last night. TONY: Right after he got off the phone with you. PURCELL: I don't know what to say. GIBBS: Why don't we start with that you said to him? PURCELL: Well, this wasn't the first time he asked for an extension. I was hard on him. I told him if he couldn't keep up I'd drop him from the course. It would ruin his career. I was trying to motivate him, Agent Gibbs, hold his feet to the fre. I never thought he'd- GIBBS: Jump in? CUT TO: INT. SQUAD ROOM - DAY KATE: The retired Lieutenant Commander's got his own consulting business. Purcell Security Group. They specialize-- TONY: Intelligence work, Boss. They've got several high paying government contracts. The biggest one's is-- KATE: Southcom. He travelled back and forth to Paraguay ten times in the last six months. And the area he's been working-- TONY: Ciudad del Este. I'm thinking this guy's a spook or working for spooks. KATE: (IN UNISON)... Or working for spooks. Everything concerning his consulting work has been flagged way above my clearance. GIBBS: Great, because I hate spooks. (INTO PHONE) Yeah, Gibbs. Okay, we're on our way. (TO KATE) Abby thinks she found the body that goes with those. KATE: Yes! MUSICAL BRIDGE TO: INT. LAB - CLOSE ON SCREEN PURCELL: (ON TV) Business in Central and South America comes with its own special set of problems. Are you working in a hostile environment? Are you dealing with corrupt or untrustworthy local officials? My course can make the difference between success and failure. Life and death. MCGEE: And there's about four hours of online instruction classes associated with this website. They were bookmarked on Petty Officer Horlacher's hard drive. ABBY: And after watching them, I can say with certainty Purcell needs a charisma bypass. KATE: What does this have to do with the eyeballs, Abby? MCGEE: Well, Horlacher accessed this J-peg file twenty two times last week. ABBY: Look familiar? TONY: Oh, I was right. She is beautiful. GIBBS: How can you be sure it's her? ABBY: Because iris patterns are more distinctive than fingerprints. TONY: More accurate too, Boss. ABBY: The video is grainy, and the angles aren't perfect. The lighting is-- GIBBS: Abby, is it her or not? ABBY: It's an eighty percent match, Gibbs. I think we've got our girl. (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - DAY TONY: (V.O.) A dad transsexual sailor, his spook instructor and a pair of human eyes walk into a bar. (ON CAMERA) What's the punch line, Kate? KATE: Whatever it is, it involves this girl and Paraguay. TONY: That's true, but not very funny. Probie, make me laugh. MCGEE: Okay, uh...yeah, the bartender doesn't believe it, so he asks the spook instructor what the hell is going on. And the guy says, "What? A guy can't have a drink with his pupils?" (bat) Nothing? Oh, come on. That was pretty funny... GIBBS: You think this is a joke, McGee? MCGEE: Uh, no? No, I don't, Boss. GIBBS: Good answer. Tony, you're with me in MTAC. Kate, get Purcell in here. We need to talk. MCGEE: He hates me, doesn't he? KATE: Well, hate's a pretty strong word. TONY: More like a mild dislike. KATE: You did spill his coffee. GIBBS: (SHOUTS) Today, DiNozzo! KATE: Gibbs will get over it. MCGEE: When? KATE: Well, let's see. Last year Tony spilled his coffee and he warmed up to him about... an hour ago. So roughly eight to ten months. MCGEE: Okay. CUT TO: INT. MTAC - DAY BUSHNELL: (ON MONITOR) I got your e-mail, Special Agent Gibbs. To tell you the truth, I was shocked. When did you learn to use a computer. GIBBS: Well, times change, Colonel. BUSHNELL: (ON MONITOR) That they do, gn. I've got two grandkids now. I heard you got remarried again. GIBBS: Ah... that didn't work out. BUSHNELL: (ON MONITOR) Well, then again, some things don't change. How can the Southern Command help you today? GIBBS: I'm investigating a civilian contractor working out of the Tri-Border Area in Paraguay. BUSHNELL: (ON MONITOR) Name? GIBBS: Guyman Purcell. BUSHNELL: (ON MONITOR) Yeah, I've heard of him. Oh yeah, he's part of a TAT, Tactical Analysis Team, we have in Ciudad del Este. What's your interest in him? GIBBS: One of his students committed su1c1de after receiving a pair of female eyeballs in the mail from T-B-A. We think Purcell knew the victim. BUSHNELL: (ON MONITOR) Body parts in the mail generally denote kidnapping. Eyes? GIBBS: Well, yeah. That does send a hell of a message, Sir. BUSHNELL: (ON MONITOR) Someone's putting pressure on Purcell. But why? GIBBS: That's what I want to find out. BUSHNELL: (ON MONITOR) Our TATs work with a few other agencies, and they're not always as forthcoming with information as I would like. But when's that ever stopped us? To old times, gn. GIBBS: Old times, Skipper. Old times. (MTAC CLICKS OFF) TONY: What's that supposed to mean? GIBBS: You ask me again in seven years. TONY: Why seven years? GIBBS: It's when the Freedom of Information Act kicks in. CUT TO: INT. LAB - DAY ABBY: You know that doesn't work with me. I always know when you're there! Gibbs? (SFX: DOORS SLIDE OPEN) ABBY: That's weird. GIBBS: Are you looking for me? ABBY: You are getting sneakier the older you get. GIBBS: Not to mention better-looking. What have you got? ABBY: Well, I'm still hacking the Petty Officer's files, but I uncovered some emails you'll be interested in. I back-traced the I.S.P. they were sent from. It's a web server in Puerto Iguazu, Argentina. GIBBS: The Tri-Border Area. ABBY: Si. CUT TO: INT. SQUAD ROOM - DAY MCGEE: Escopeta seven nine four is the originator in Argentina, Boss. TONY: Escopeta means rfle in Spanish. MCGEE: And Shadegirl is one of Petty Officer Horlacher's private email addresses. TONY: You be the transsexual. I'll be the rfle. MCGEE: First exchange was three weeks ago. TONY: I want the hundred thousand for the girl. MCGEE: Shadegirl says her controller will pay only sixty and wants proof. TONY: One hundred thousand. No! Escopeta repeats his demand for one hundred. Swears a bunch in Spanish. MCGEE: Shadegirl insists on sixty and proof. TONY: Swear, swear, swear, thrat, swear. MCGEE: And finally Shadegirl goes up to seventy five and says his controller wants proof before the money is sent. TONY: Escopeta expresses is displeasure colorfully, and slips up. He uses a name. A hundred was the price. Tell Purcell his proof's on the way. MCGEE: Petty Officer Horlacher was bearding for Purcell. TONY: How does a transsexual beard, Probie? GIBBS: Proof of a life by ripping out her eyes? I don't buy it. TONY: Escopeta is running a kidnapping ring, Boss. They set examples. You either meet the price or the person dies.(PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) KATE: (INTO PHONE) Purcell's gone, Gibbs. GIBBS: (V.O./FILTERED) Where? (SCENE CUT) KATE: (V.O./FILTERED) Well, according to one of his students... (SCENE CUT) KATE: (INTO PHONE) He was recalled back to Paraguay. GIBBS: (V.O./FILTERED) You find out... (SCENE CUT) GIBBS: (INTO PHONE) ... What flight he's on. KATE: (V.O./FILTERED) Already did. (SCENE CUT) KATE: (INTO PHONE) His flight landed at the Guarani International Airport ... (SCENE CUT) KATE: (V.O./FILTERED) ... Twenty minutes ago.(END TELEPHONE INTERCUTS) GIBBS: Pack your gear. You're going to Paraguay. TONY: Alone? GIBBS: Take one of them with you. I'll start prepping the op from here. MCGEE: Yes! I've always wanted to go to Paraguay! TONY: Ha! Ai! Arriba! MUSICAL BRIDGE TO: EXT. STREET - DAY TONY: Okay, which way to the Tactical Analysis Team's headquarters? El derecho o izquierda? (The right or the left) KATE: Right. TONY: Derecho. Ah, I should have brought more cash. Look at that. Hey, look at these guys. (TO SALESMAN) Buenos dias. SALESMAN: Bueno. TONY: Is this the local bridge club? Ah, it's not the tropics, but at least it's warm. KATE: Actually, it is the tropics, Tony. TONY: Really? KATE: The Tropic of Capricorn to be exact. TONY: Huh. Tropics smell kind of funny to you, Kate? KATE: It's not the tropics Tony. It would be the plumbing. TONY: How come we never get sent to like Paris or Hawaii? KATE: Oh, come on. It'll be fun. And the best part... no Gibbs checking up on us. CUT TO: INT. MTAC - DAY GIBBS: What the hell are they doing? MCGEE: They are stopped about fifty feet from the TAT building. GIBBS: Well yeah, I can see that, McGee! Get them on the satellite phone. CUT TO: EXT. STREET - DAY TONY: Check this out, Kate. I-pod for thirty bucks. KATE: First of all it says L-pod on the back. And second... there's nothing in here. (PHONE RINGS) (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) TONY: (V.O./FILTERED) DiNozzo. GIBBS: What's your location? (SCENE CUT) TONY: (INTO PHONE) We're looking for the TAT building right now. The town's kind of hard... (SCENE CUT) TONY: (V.O./FILTERED) .... To navigate. GIBBS: (INTO PHONE) It's fifty feet right in front of you, DiNozzo! (SCENE CUT) TONY: (INTO PHONE) Found it. I take it the GPS chip in the phone is working well? GIBBS: (V.O./FILTERED) Well yes is it. (SCENE CUT) GIBBS: (INTO PHONE) Will you quit screwing around and get moving? You're not on vacation. TONY: (V.O./FILTERED) I'm on it, Boss. (END TELEPHONE INTERCUTS) GIBBS: Patch me in to Colonel Bushnell. MCGEE: On it. Switch over to Southern Command. GIBBS: Colonel Bushnell, my team's at the link-up point. BUSHNELL: (ON MONITOR) Their in-country guide is Joe Tabarez. He's the watch officer for the Ciudad del Este TAT. Former Marine. Good man. GIBBS: Any word on Purcell? BUSHNELL: (V.O.) Not since he came through customs. He hasn't checked in with any of our people. He's not in Paraguay on South Comm business. GIBBS: What about somebody else's business, Colonel? BUSHNELL: (ON MONITOR) Well, that's possible. I'm checking that angle now. I know somebody higher up in the chain of command is not making this easy, Jethro. GIBBS: Yeah.(END TELEPHONE INTERCUTS) CUT TO: EXT. STREET - DAY TABAREZ: Agents DiNozzo and Todd? I'm Joe Tabarez, Tactical Analysis Team. Welcome to the middle of nowhere. KATE: Nice to meet you. TONY: What's the chain for? TABAREZ: Ciudad del Este anti-theft device. Let's get inside. Don't want to get sht on your first day. (MUTTERS IN SPANISH) CUT TO: INT. TAT HEADQUARTERS - DAY TABAREZ: This is the Wild West. If there's a profit in something, it's for sale. Bootlegs, drugs, gn. You name it. It's also Al Qaeda's front line in South America. KATE: What about body parts? TABAREZ: There's folks down here who would sell you a kidney if it meant putting food on the table. Of course, there's also folks who'd gladly take yours for the same reason, Agent Todd. TONY: Tell us about Purcell. TABAREZ: His intelligence work is first rate. Man's developed a lot of contacts down here. KATE: Well, what do you think of him personally, Mister Tabarez? TABAREZ: It's Joe... and I try not to. Off the record, Purcell's one creepy sonovabitch. What's he supposed to have done? TONY: Shipped a pair of woman's eyeballs to a transsexual sailor who klled himself. TABAREZ: And here I thought I'd seen it all. TONY: Do you recognize the girl on the right? TABAREZ: I do. It's Purcell's wife. (MUSIC OUT) FADE IN: INT. MTAC ROOM - DAY TONY: (ON MONITOR) We I.D.'d the girl in the photo, Boss. KATE: (ON MONITOR) Name's Anna Real. Purcell married her last year in Paraguay. GIBBS: How old is she? KATE: (ON MONITOR) Seventeen. TONY: (ON MONITOR) And he's been dating her for about three years. KATE: (ON MONITOR) The bastard's a pedophile, Gibbs. GIBBS: Tabarez knew this? TONY: (ON MONITOR) Well, he's the one who told us. GIBBS: I want to talk to him. KATE: (ON MONITOR) He's out trying to find Purcell. GIBBS: Or he's having coffee with him! He looked the other way while Purcell was molesting a fourteen year old. What's that tell you two? (TO MCGEE) Get me Bushnell. MCGEE: On it. GIBBS: You two find me Purcell! CUT TO: INT. TABAREZ'S OFFICE - DAY TABAREZ: I wasn't having coffee with him. But I know who was. KATE: Did you report him to Southern Command? TABAREZ: Yes, Agent Todd. I did. Look, if I had my way he'd be lying in the garbage there on the street. But he's being protected. TONY: By who? TABAREZ: Need to know. I don't. Welcome to the wonderful world of spooks. TONY: Who was he having coffee with? TABAREZ: Are you ready to see the seedy underside of Ciudad del Este? KATE: Can it get any worse? BUSHNELL: (V.O.) You believe I would look the other way, gn? CUT TO: INT. MTAC ROOM - DAY GIBBS: No, Skipper. But someone in Southern Command did. BUSHNELL: (ON MONITOR) Well I'll find out who and I'll get back to you. GIBBS: I'm going to take him down, Colonel. BUSHNELL: (ON MONITOR) Just make sure you don't get taken down, Jethro. GIBBS: Special Agent McGee here's got my back. BUSHNELL: (ON MONITOR) Yeah, right. (MONITOR CLICKS OFF) MCGEE: Thank you. Thank you, Boss. GIBBS: What the hell are you doing? MCGEE: Well, I thought that you were giving it to me. GIBBS: To refill it, McGee! MCGEE: Sorry, I'll get you another one. (DOOR OPENS) CUT TO: EXT. STREET - DAY TABAREZ: (IN SPANISH) You are under arrest. Turn around slowly. MEJIA: Ah, Joe! Why you always doing this to me!? TABAREZ: Practicing, Iggy. I've got some friends here who want to talk to you. MEJIA: Oh, sure. You like movies? Hey? Movies? No habla Ingles? I have DVDs. Only five American each, huh? TONY: Five dollars for a DVD? MEJIA: You drive a hard bargain. Only four for you. TONY: Four bucks? Do you have any Hitchcock? MEJIA: I have everything, my friend. I have action. I have the comedy. I have whatever you want. KATE: Actually, we're more interested in information, Iggy. MEJIA: You like handbags, Miss? Oh... KATE: Luis Vuitton! Wow. It looks so real. MEJIA: Uh-huh. Twenty dollars or two for forty. KATE: Really? TONY: Like the lady said. We're more interested in information, Iggy. Have you seen the girl on the right before? MEJIA: Ah, si. TONY: Tell me about her. MEJIA: I heard she passed. TONY: By passed, you mean she had her eyeballs ripped out of her skull? Yeah, Iggy, she passed. KATE: We want to know who did it and why. MEJIA: Life is so cheap here, Miss. Who can say why? TONY: Purcell can. Seen him around lately? MEJIA: Senor Purcell - he's a good man. TABAREZ: That's not what he asked, Iggy. He wants to know if you've seen him. MEJIA: No! No, is he in trouble or what? (PHONE RINGS) KATE: (INTO PHONE) Todd. (MEJIA AND TABAREZ TALK B.G.) KATE: (INTO PHONE) Great. Thanks, McGee. (TO TONY) He found us a hotel. TONY: Good. We need to find Purcell. You help us, we'll help you. MEJIA: How much for the phone? KATE: Phone's not for sale. MEJIA: Come on! We trade, no? All of this plus fifty dollars U.S.. Come on. KATE: It's Government property issued to me. No. TONY: I'll tell you what, Iggy. I'll give you the phone if you promise to tell me when Purcell contacts you. KATE: You're not authorized to give up my phone! TONY: Agent Todd, you are interrupting my negotiation. (TO IGGY) Deal? MEJIA: Si. If Purcell contacts me, I tell you. TONY: Phone number's on the back. CUT TO: INT. MTAC ROOM - DAY MCGEE: It's a great idea, Tony. The GPS in Kate's phone is reading loud and clear. I'll call when Iggy moves.` TONY: (V.O./FILTERED) Roger that, Probie. CUT TO: INT. TAT HEADQUARTERS - DAY KATE: So do you want me to say sorry or something? You could have given him your phone, you know? TONY: Lead agent never gives up his line of communication. KATE: When did you become the lead agent? I thought we were a team. TONY: We are. I'm the team leader. KATE: So I'm the follower? I don't think so. CUT TO: INT. MTAC ROOM - DAY GIBBS: Oh, yeah. I've seen that look before. In Bosnia. When we returned to Brcko two days after NATO ordered us out. BUSHNELL: (ON MONITOR) I can still smell it burning. I have been given a direct order to protect Purcell as a valuable intelligence asset. GIBBS: Regardless of what he's done? BUSHNELL: (ON MONITOR) Regardless of what he has done. GIBBS: With all due respect, Colonel... BUSHNELL: (ON MONITOR) You don't have to say it, gn! Only two things a Marine can do when he receives a direct order. Obey or resign. GIBBS: You're resigning your commission? BUSHNELL: (ON MONITOR) I will never have another Brcko on my conscience. GIBBS: Can you find out who's protecting him? BUSHNELL: (ON MONITOR) Someone at the farm, but I have no way of knowing who it is. MCGEE: Sir, how do you contact him? BUSHNELL: (ON MONITOR) Encrypted teleconference like this. GIBBS: You've seen him? BUSHNELL: (ON MONITOR) No. He's always in shadow. Very corny. Like some cold wr film. GIBBS: That's corny, but it's effective. BUSHNELL: (ON MONITOR) Yeah. MCGEE: Boss, if the Colonel can get him on a teleconference, his encrypter can patch him to us. GIBBS: Skipper! MUSICAL BRIDGE TO: EXT. STREET - DAY TONY: Where the hell are we, McGee?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: San Gusta Street near the heart of the city. Okay, he's turning left. TONY: (V.O./FILTERED) I know... (SCENE CUT) TONY: (INTO PHONE) ... He turned left. I have a visual. (SCENE CUT) KATE: (V.O./FILTERED) He's stopping up ahead. (SCENE CUT) TONY: (V.O.) Who's he with? KATE: Purcell. (SCENE CUT) TONY: (V.O./FILTERED) Okay, it's Purcell. Should we bring him in, Boss? GIBBS: No. TONY: (V.O./FILTERED) What?! GIBBS: No, DiNozzo. You heard me. Just tail him. (SCENE CUT) GIBBS: Gibbs wants us to follow him. KATE: Why? GIBBS: Does it matter? (SCENE CUT) TONY: (V.O./FILTERED) They're heading into a hotel, Boss. GIBBS: Follow. Don't engage unless you have to. MCGEE: Iggy's altitude's increasing. GIBBS: He's in an elevator. Third floor, DiNozzo.(END TELEPHONE INTERCUTS) CUT TO: INT. HOTEL CORRIDOR - DAY (SFX: GATE DOORS SLIDE OPEN) (MUSIC OVER ACTION/MEJIA RUNS FROM KATE) TONY: Going somewhere, Iggy? MEJIA: To find you, my friend. Senor Purcell he contacted me. TONY: Did he now. MEJIA: Si. TONY: What's he doing here, Iggy? MEJIA: It's a hotel. He's staying here. KATE: Wrong answer. CUT TO: INT. HOTEL ROOM - DAY PURCELL: First I want you to know that I loved my wife, even if I couldn't trust her. I paid seventy five thousand American. That's a fortune down here. Why are you not dad? ANNA: Escopeta confused me with my little sister. He klled her. PURCELL: She would still be alive if you hadn't thrat to betray me. Goodbye, Anna. ANNA: (SHOUTS) Do it! I'd rather be dad than spend one more day with a monster like you! PURCELL: Close your eyes, Anna. Close your eyes. (SFX: DOOR BURSTS OPEN) KATE: Drop the wapon! TONY: Oh, look at that, Kate. He was actually thinking about trying it. KATE: You double tap the head, I'll double tap the heart. TONY: Deal. CUT TO: INT. MTAC ROOM - DAY BUSHNELL: (ON MONITOR) All right, stand by. My farm contact's coming on the system... now. He's all yours, gn. GIBBS: Patch me in, McGee. (TO MONITOR) Special Agent Gibbs, NCIS. You either give up Purcell, or I will personally compromise the identity of this man. Ari Haswari. Our link to Al Qaeda for a child molester. Your call. (MONITOR CLICKS OFF) MCGEE: What next? GIBBS: Now we wait, McGee. CUT TO: INT. TAT HEADQUARTERS - NIGHT TONY: According to your "wife", you're not just getting intel on rackets in Ciudad del Este, you're actually running some of them. KATE: Drugs, organ harvesting, child prostitution rings. PURCELL: It's my mission to infiltrate these organizations. I'm very good at it. KATE: And having sex with underage children? TONY: Once she testifies, you're going to spend the rest of your life in Leavenworth, Purcell. PURCELL: No, you misunderstand, Agent DiNozzo. Anna wasn't thrat to tell our Government, she was thrat to tell hers. TONY: What difference does that make? (PURCELL LAUGHS) (DOOR OPENS) TABAREZ: You should have sh*t him while you had the chance, DiNozzo. KATE: What - you know what he is - what he did. How could you?! TABAREZ: The same what you do. Follow the orders, Agent Todd. PURCELL: Now if you will excuse me, I have a job to do. CUT TO: INT. MTAC ROOM - DAY MCGEE: Boss, there's another encrypted transmission coming up on the system. GIBBS: Put it up on the screen. (MUSIC OVER ACTION/PURCELL WALKING IN PARAGUAY/ FALLING TO THE GROUND) (MONITOR CLICKS OFF) GIBBS: Bring our people home. (MUSIC OVER ENDING CREDITS AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x17 - An Eye for An Eye"}	foreverdreaming
MUSIC IN: EXT. VIRGINIA BEACH STAGE - DAY JAMEL JONES: What's going on, Virginia Beach?! (SFX: SHOUTS AND APPLAUSE) JAMEL JONES: Yo! Yo! You all ready to get this started? Are you ready? Hey, how are you feeling? Maybe you didn't hear me! I said, how you feeling, Virginia Beach?! (SFX: SHOUTS AND APPLAUSE) JAMEL JONES: All right! Ya'll ready for me to bring out these women?! (SFX: SHOUTS AND APPLAUSE) JAMEL JONES: All right. All right. Let's get started. Our first contestant is a teacher, and enjoys long, hard... math problems. Please give a warm welcome to Monica! (SFX: SHOUTS AND APPLAUSE) JAMEL JONES: God bless you, baby. Man! All right, our next young lady is a Capricorn, and one of Jamel's personal favorites. Say hello to Tina!! (SFX: SHOUTS AND APPLAUSE) JAMEL JONES: Our third contestant is a Navy girl. So stand at attention, boys. This is the beautiful Tiffany! Do we have a contestant number three? CUT TO: INT. RESTROOM - DAY JAMEL JONES: (V.O.) Well apparently Tiffany had some place better to be. (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. NCIS SQUAD ROOM - DAY (SFX: DOORS SLIDE OPEN) "BIKINI WAX" TONY: What's new, Abs? ABBY: Hey, Tony. I'm digging the tie. Is it new? TONY: Yeah, I just got it last weekend. It's Zegna. ABBY: I like. TONY: I'm glad. I paid over a hundred bucks for it. KATE: Why do you always do that? TONY: What? KATE: You always have to announce how much you paid for your clothes. It's weird. TONY: What's weird? Abby asked me about my tie. I answered. It's called a conversation, Kate. KATE: No, Abby asked you if it was new. She didn't ask you how much you paid for it. The two things have no correlation. TONY: Well, if I didn't pay for it, then it wouldn't be new, now would it? KATE: What is the point of bragging to us about how much you spend on your clothes? We work with you. We all know how much you make. MCGEE: I don't. KATE: Look, all I'm trying to say is that it's not very professional. Gibbs would never walk in here and tell us how much he paid for his shirt. TONY: That's because the prices have been pretty consistent at Sears since the late seventies. GIBBS: We have a body in Virginia Beach. McGee? MCGEE: Yeah? GIBBS: Call Ducky. MCGEE: You got it. TONY: Hey Boss, have you had a chance to sign off on that missing person's report I gave you? GIBBS: No, DiNozzo, I haven't. I tried to get to it last night but Sears was having a sale. (DOOR CLOSES) CUT TO: EXT. VIRGINIA BEACH - DAY (SFX: POLICE SIREN) KATE: I give him five seconds. MCGEE: Until what? KATE: Until Tony notices there's a.... TONY: Bikini contest!? GIBBS: It's over, DiNozzo. Gear up. SOMMERS: Agent Gibbs? Lieutenant Sommers, Virginia Beach Police. I assume you want to take this one. GIBBS: You assume correctly, Lieutenant. SOMMERS: As soon as we found her Norfolk I.D. card, we cleared out. I brought in extra men just to seal off the area. GIBBS: Bikini doesn't leave much room for an I.D. SOMMERS: There was a small beach bag next to her in the stall. GIBBS: What is Volt Entertainment? SOMMERS: It's a local cable channel that caters to men. They air all of the contests. KATE: I'll get a dub. GIBBS: Who discovered the body? SOMMERS: An elderly woman at about fourteen hundred. She notified one of my men shortly after. She was pretty frantic. GIBBS: Where is she? SOMMERS: She's in my car back there. You don't want to see her, Agent Gibbs? GIBBS: Kate. KATE: He's not really one for chit-chat. SOMMERS: I can see that. TONY: Are there any more girls from the bikini contest? GIBBS: Hey, DiNozzo! TONY: Right behind you, Boss. MUSICAL BRIDGE TO: INT. BATHROOM - DAY TONY: That is one hell of a swirlie. MCGEE: A swirlie? TONY: You take the kid by the ankles, dunk him in the toilet, then flush. Usually reserved for dorks. Does it look familiar, Probie? MCGEE: I don't think so. Noogies, sure. Wedgies... an occasional Melvin. But uh... no. GIBBS: If you two don't start working, I will show you hazing. And the Marine Corps does not do wedgies or noogies or melvins. TONY: Thank you, Boss. GIBBS: DiNozzo, measure and sketch these footprints TONY: You think she made them, Boss? GIBBS: Well, they match her shoes. TONY: Not smudged. No sign of panic. Think she went to the toilet voluntarily? GIBBS: No sign of a struggle. No bruises on her arms and neck. MCGEE: Why wouldn't she run or fight back? TONY: Maybe she didn't have a chance to. She could've been in the vomiting position when she was attcked. GIBBS: That's good, DiNozzo. TONY: Thanks, Boss. GIBBS: Now get down on the floor and start sketching her footprints. TONY: This is a public restroom, Boss. It's disgusting. GIBBS: It could be worse. TONY: How could it be worse? GIBBS: Could be a men's room. CUT TO: EXT. WOMEN'S RESTROOM - DAY DUCKY: Ah, Jethro. GIBBS: Hey, Duck. DiNozzo and McGee will be done in a few minutes. DUCKY: Oh, no hurry. It takes time to do detailed and concise work. Mister Palmer, here, finishes his work quite quickly. JIMMY: Thank you, Doctor. CUT TO: EXT. BOARDWALK - DAY KATE: (INTO PHONE) Well thank you, Sergeant Klein. You have been very helpful. Thanks. (TO GIBBS) Her name was Petty Officer Tiffany Jordan. Her C.O. said she was deployed on the U.S.S. Monroe for the last fifty-seven days. Ship returned to port yesterday about this time. GIBBS: What did the witness say? KATE: She doesn't usually use public restrooms. Has a phobia. GIBBS: Well, this won't help. Victim's address? KATE: Nine-three-seven-five Rosewood Drive, Norfolk. GIBBS: Come on, let's go. CUT TO: EXT. RESTROOM - DAY TONY: She's all yours, boys. DUCKY: Thank you, gentlemen. TONY: I love the beach. Reminds me of college. MCGEE: I thought you went to Ohio State? TONY: I'm talking about Spring Break, Probie. Every year my buddies and I would hop in the car and head down to Panama City. MCGEE: At MIT we never did the whole Spring Break thing. TONY: Go figure. MCGEE: Is it as wild as it looks on MTV? TONY: Probie, my stories alone could make you a man. CUT TO: INT. RESTROOM - DAY JIMMY: Is something wrong, Doctor? DUCKY: Her head is in the toilet, Mister Palmer. JIMMY: Right, sorry. I've just never seen you hesitate before. DUCKY: When a person is as experienced as I am, it's rare to come across something you've never seen before. JIMMY: How long has she been here? DUCKY: Roughly, two, maybe three hours. JIMMY: That is incredible. You know, you have a real gift. DUCKY: Give yourself time, Mister Palmer. I've been doing this since long before you were a twinkle in your mother's eye. Or even your mother's mother. JIMMY: Some people find it strange... our profession. DUCKY: So I've heard. JIMMY: Did you ever consider another line of work? DUCKY: I suppose so. I believe there comes a time in everybody's life where they stop but wonder if what they're doing is meaningful. It's only healthy. JIMMY: Really? What other kinds of ... DUCKY: (OVERLAP) Shortly after I graduated from Edinburgh Medical School, I gave serious consideration to a career in teaching. Yes, in fact, I heard there was a vacancy at Eton, my alma mater. I almost applied. JIMMY: Well, why didn't you? DUCKY: I got the idea of teaching the world's youth, yeah, and then I realized deep down academia was not for me. I could never picture myself giving those long, rambling, esoteric lectures. JIMMY: Me either, Doctor. DUCKY: Let's get you out of here, my dear. MUSICAL BRIDGE TO: INT. TIFFANY'S APARTMENT - DAY KATE: She keeps a clean place. GIBBS: Yeah, well she probably didn't see much of it. KATE: Battling the Bulge, by Jeff Drixon. Looks to me like Jeff is losing the battle. How to Lose Fifteen Pounds in Fifteen Days. Losing is a Choice. They're all weight loss books. GIBBS: These are all work out videos. KATE: Preoccupied with weight loss, vomiting before an attck - it sounds like an eating disorder. Gibbs, take a look at this. (READS) Tiff, I hope you enjoyed my letters. I live for the day that we can be together. Love, John. GIBBS: Romantic. KATE: Flowers are fresh. He delivered them himself. GIBBS: How do you know that? KATE: Florists put their insignia on their cards. This card's blank. Don't you ever get flowers? GIBBS: I don't like gifts that require attention. KATE: These are all bills from before she left. Where are the letters? You think she trashed them? GIBBS: She never got them. She's been at sea for the past two months. KATE: Right. So yesterday she should have returned home to a stack of mail. GIBBS: She did what people do when they take a trip. She had her mail stopped. CUT TO: INT. SQUAD ROOM - DAY (SFX: DOORS SLIDE OPEN) TONY: Where have you been? MCGEE: I missed lunch, so I decided to go out for a snack. Why? TONY: We're headed to the U.S.S. Monroe. I set up an interview with Petty Officer Jordan's former rack mate. MCGEE: Can I have two minutes to eat? TONY: Get anything for me? MCGEE: No, I only had a few dollars. TONY: Then there's no time. No food in the truck. MCGEE: What? TONY: Gibbs' rules, not mine. On second thought, I think the rule is that there's no eating in autopsy. The truck's okay. CUT TO: EXT. U.S.S. MONROE - NIGHT TONY: Why are you breathing like that? What's wrong with you? MCGEE: I'm not feeling so hot. I don't like boats. TONY: It's not a boat, it's a ship. And it's docked. MCGEE: It doesn't matter. As soon as I get on the water, I immediately start feeling queasy. TONY: Well, that's not a great trait for someone who investigates the NAVY. MCGEE: I'm feeling dizzy. TONY: Well, it's a good thing you didn't eat that burger. It could've been embarrassing. CUT TO: INT. HANGAR - DAY EGAN: I can't believe this happened, Sir. She was such a great person. TONY: Do you know of anyone that may have been angry with Tiffany? EGAN: Not at all. Tiff was friends with everyone. We all loved her. Sir, are you sure you're okay? MCGEE: Oh yeah. No, I just haven't gotten my sea legs yet. EGAN: Can I get you anything? Some Dramamine maybe? MCGEE: Well, I already took six. You know what? I'll be fine. Don't worry about me. TONY: Had Tiffany been sick? EGAN: I don't think so. Why? TONY: It appears she may have been vomiting when she was attcked. Is there something we should know? EGAN: She came to me about a month ago, and said there was something that could potentially ruin her career in the Navy. CUT TO: INT. AUTOPSY ROOM - NIGHT GIBBS: What do we have, Duck? DUCKY: Well, no shortage of water in her lungs. She definitely drowned. GIBBS: Any internal damage? DUCKY: Her esophagus is quite worn as if she'd been vomiting excessively. GIBBS: Was she bulimic? DUCKY: Possible, but not probable. Her throat shows little evidence of self-regurgitation. Preliminary tests conclude that her bout with hyper emesis was caused by a hormonal imbalance. Particularly, a drastic rise in her estrogen level. GIBBS: Morning sickness? DUCKY: Indeed. Our young exhibitionist was pregnant. (CUT TO BLACK) FADE IN: INT. SQUAD ROOM - DAY MCGEE: (INTO PHONE) It's Petty Officer Tiffany Jordan... J-O-R-D-A-N. No, I was just on hold. KATE: (INTO PHONE) A warrant will take days. I need her mail now. Well, I understand that it's Federal. That's not soon enough. TONY: (INTO PHONE) Is the ocean view partial or panoramic? Oh, sweet. The bar's in the lobby? That sounds great! Oh, yeah. All right. Yeah, I'll talk to you soon. Thank you. Thanks. KATE: We're working, you're planning a vacation. TONY: Oh, it's not just a vacation, Kate. It's Spring break. KATE: You've got to be kidding me. TONY: No. I talked to my frat brothers last night, just booked the hotel today. The wheels on the party bus are now in motion. MCGEE: Let me guess, Panama City. TONY: Oh, yeah. Palm trees, mai tais and coeds all week long, Probie. KATE: Don't you think you're just a little old for Spring break? TONY: I can bong a beer in under six seconds. Believe me, I'll fit right in. GIBBS: Abby didn't find any foreign prints on the bouquet or the beach bag, and that means one of you had better give me a lead. DiNozzo. TONY: I talked to Petty Officer Jordan's rack mate from the Monroe. She said Jordan bought an Early Pregnancy test during a brief stop at King's Bay. GIBBS: She knew she was pregnant. Any idea about the father? TONY: She used a payphone to call him, but his cell was turned off. She said she left a message. KATE: That's your worst nightmare, Tony. TONY: How's it going with those letters, Kate? KATE: Working on it. Thanks, Tony. GIBBS: How long? KATE: Two days...three, tops. GIBBS: You've got four. KATE: Really? GIBBS: Hours. KATE: Sounds about right. GIBBS: McGee! Are you waiting for me to announce you? MCGEE: No, I'm sorry. I pulled the phone records from Petty Officer Jordan's apartment. Only one call since she returned. It was yesterday at eleven hundred to a Lisa Kerr. GIBBS: Two hours prior to Ducky's estimated time of death. This address her work or her home? MCGEE: Both. She's an at-home yoga instructor. GIBBS: Good job, McGee. DiNozzo, you're with me. TONY: Right behind you, Boss. Three hours fifty minutes. CUT TO: INT. AUTOPSY ROOM - DAY JIMMY: Doctor, can you come here for a second? DUCKY: What is it, Mister Palmer? JIMMY: I'm not sure. What do you think? DUCKY: It looks like some sort of paraffin wax. Yeah, it reminds me of a product my grandfather used to use. He put a little of it on either end of his moustache. Gave it the handlebar look. JIMMY: Well, doesn't make sense. DUCKY: Well, it was well before your time. Back then it was a very popular look. It epitomized high society. JIMMY: No, not about your grandfather. Why would she have this stuff in her hair? DUCKY: One would surmise it was on the kller's hand. Get it up to Abby right away. CUT TO: INT. SEDAN - MOVING TONY: Thanks for having me come along, Boss. I know when it comes to women, I sometimes get a little distracted. I just want to let you know that I appreciate this vote of confidence. What I'm trying to say is I'm not going to let you down. I'm going to be attentive and meticulous to every detail in my notes. Oblivious to any distraction. GIBBS: We're here. (TONY DAYDREAMS) (CAR DOORS OPEN/CLOSE) GIBBS: DiNozzo! TONY: Oh yeah. I'm with you, Boss! GIBBS: DiNozzo, your PDA. TONY: Right. There it is. Got it. Sorry about that. not a great start, huh, Boss? GIBBS: Could've been better. TONY: Sorry. CUT TO: EXT. LISA KERR'S HOUSE - DAY LISA: You've got to get your forehead to the ground. Nice long stretch. Let the head just hang. GIBBS: Lisa Kerr? LISA: Yes? GIBBS: Hi. Special Agent Gibbs, NCIS. Special Agent DiNozzo. We have a few questions for you. LISA: Of course. Yeah. All right, Sally? SALLY: (V.O.) Yeah? LISA: Please take over the class for a second. SALLY: Oh, sure. Sure. LISA: I don't know if it's ht me yet. GIBBS: You were close? LISA: As close as you can be to a girl in the Navy, when she was here for one month and gone the next. GIBBS: How'd you meet? LISA: She signed up for my tantric yoga class a little over a year ago. It combines physical fitness with the ability to heighten a woman's pleasure during prolonged lovemaking. (SFX: PDA BEEP TONES) TONY: I'll reboot. GIBBS: Who was Tiffany romantically involved with? LISA: I've never known her to date anyone. In fact, she was the only one in the class who was in the class for physical fitness. She wanted to lose ten pounds for a sht. GIBBS: sht? LISA: Yeah. She was doing a spread with two other girls for GSM. It was called Naughty in the Navy. It ht the stands a couple months ago. TONY: I remember that issue. Good layout. GIBBS: What is GSM? TONY: Get Sum Magazine. It's like Playboy but less risqué. They both have really great articles. GIBBS: The Navy respond? LISA: Oh, it was revealing, but it wasn't nude. So she got a slap on the wrist. I've got a copy of it inside. Do you guys want to see it? TONY: That won't be necessary. GIBBS: Why won't it? TONY: I make a point of keeping all my copies. Like I said, great articles. GIBBS: Tiffany called you yesterday. LISA: Yeah, she said that she was back in town and that she wanted to see me that night, and she needed to talk to me. GIBBS: About what? LISA: Never said. KEVIN: (V.O.) Hey Lisa! LISA: Hey, how was it? KEVIN: Ah, it was all blown out. Not a wave worth paddling after. LISA: Should've gone with me for the a.m. sets. Waves were overhead and clean all morning. They're from NCIS. Guys, this is my fiancé Kevin Holt. KEVIN: Hey. GIBBS: Hey. KEVIN: So any suspects yet? TONY: We're working on it. KEVIN: Girl gets mrder in public during a bikini contest. I don't know, you'd think it would be pretty simple. GIBBS: You'd think. We're finished here. CUT TO: INT. LAB - DAY MCGEE: What is this stuff? ABBY: Bikini glue. The contestants use it to keep their suit bottoms from riding up. MCGEE: Really? ABBY: Yep. I used to go through sticks of that stuff when I was in the circuit. There's so much you don't know, McGee. MCGEE: Was this what Jimmy found in her hair? ABBY: No. I compared both substances. The stuff in her hair is thicker. It's more like a wax. How's Kate doing on time? MCGEE: Down to eight minutes. KATE: Seven. Your watch must be slow. ABBY: Kate! You made it! KATE: What's this? MCGEE: Don't ask. ABBY: So how'd you do? KATE: Did I ever tell you about that feeb in mail fraud that's always flirting with me? ABBY: Yeah. KATE: I called him. ABBY: You didn't say you'd go out with him, did you? KATE: Not exactly. I read him Section Twenty two Dash A of the Federal Government sexual harassment code. And then I told him I needed a favor. ABBY: Right on! MCGEE: I've never seen so much crap. ABBY: This is why I liberated myself from paper mail. KATE: Why does that not surprise me? ABBY: I don't even have a mailbox. If it doesn't come electronically, I'm not getting it. MCGEE: Okay, we'll each take a third and filter through it. ABBY: I love it when you're rough, McGee. CUT TO: INT. SQUAD ROOM - DAY TONY: I knew she looked familiar. GIBBS: Who? TONY: Lisa Kerr. She's the daughter of Mister Kerr. You know, from Mister Kerr's Cupcakes? GIBBS: Oh, yeah. Well that explains the house. TONY: And she's in all the commercials. It was driving be crazing because I was trying to figure out where I knew her from. GIBBS: Why didn't you just ask her? TONY: I was kind of afraid to. GIBBS: Why? TONY: Well, I've had a lot of short-lived relationships and I kind of have a hard time remembering all of them. GIBBS: I have the same problem with ex-wives. KATE: The name's Jonathan Redding. He's written our victim four letters in the last six weeks. And the writing indicates classic stalker. If he can't have her no one can. TONY: Sounds like our guy. GIBBS: We have a return address? KATE: Cell Block F. He's in the Danville Correctional Facility. TONY: It can't ever be easy. KATE: Well I still think we should talk to him. We can't just ignore evidence like this. TONY: What evidence? The guy's still in prison. MCGEE: Not anymore. I just spoke to Danville's Assistant Warden. Jonathan Redding was paroled thirteen days ago. (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - DAY KATE: Jonathan Redding was arrested for asault and battery in May of oh-one. He had two priors before that. Violation of a restraining order and possession of narcotics. Two of his three arrests involved ex-girlfriends. GIBBS: We locate him? MCGEE: I phoned his registered address, they claim they haven't seen him. GIBBS: His parole officer? MCGEE: I phoned him as well, still waiting to hear back. (bat) I'm going to call him again. KATE: This guy definitely fits the profile. GIBBS: All we have is a rap sheet and some fan mail. Even if when we find him, we can't detain him. TONY: That may not be true, Boss. Redding's former cellmates saw the mrder on the news. He said he has some information we should hear. GIBBS: In exchange for what? TONY: Depending on what he gives us, the D.A. may cut him a deal. GIBBS: Take Todd. Find out what he knows. TONY: You got it. Kate, with me. CUT TO: EXT. PRISON YARD - DAY TONY: Did you ever interrogate a prisoner, Kate? KATE: Yes, Tony. I've been at this for a while now. TONY: Well, it's important to remember that you can never let your guard down. An inmate, unlike a civilian, has nothing to lose. KATE: Yeah, but this inmate, Tony, asked to speak to us. He wants to do the right thing. TONY: He's a felon and that's the way we're going to great him. GUARD: (V.O.) Open the gate! (SFX: DOOR SLIDES OPEN) CUT TO: EXT. PRISON YARD - DAY TONY: How long were you and Jonathan Redding cellmates? LUKE: Six or seven months. TONY: Which is it, Luke? Six or seven? LUKE: What's with the third degree? I'm trying to help you guys. KATE: Then answer the question. LUKE: Well, he came in right around my birthday. So I guess it was closer to seven. TONY: So you gave him the magazine with Tiffany's picture? When was it that you started to believe that Jonathan was ... you're an Alpha Chi Delta? LUKE: Rutgers. Ninety one. TONY: Ohio State. Eighty nine! LUKE: No, way! TONY: Yeah, dude! Are you in touch with any of the brothers? LUKE: Try to. These days it's not that easy. TONY: Yeah. LUKE: You? TONY: Well, I'm still best friends with three of the guys from my pledge class. In fact, we're heading down to Florida for Spring Break! LUKE: Oh, that's awesome, man! TONY: Yeah. LUKE: Oh, I used to love Spring break. TONY: Panama City! LUKE: Ooh! Palm trees! CUT TO: INT. SQUAD ROOM - DAY MCGEE: (INTO PHONE) No, that's all for now. Thank you very much. (TO GIBBS) Boss, I located Redding. He is working at the Water Wheel Car Wash. It's only two miles away from where Petty Officer Jordan was attcked. GIBBS: We should've had him three hours ago. MCGEE: I'm sorry about that. I kept hitting dad ends. GIBBS: Learn to anticipate, McGee. MCGEE: Anticipate? GIBBS: Always think a step ahead. You shouldn't ever have to waste time deciding what to do next. MCGEE: Anticipate. GIBBS: (INTO PHONE) Yeah, Gibbs. KATE: (V.O./FILTERED) According to his cellmate...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) KATE: (INTO PHONE) ...Redding stared at Petty Officer Jordan's photos for hours at a time. And then the letters started.(TONY AND LUKE LAUGH B.G.) (SCENE CUT) GIBBS: (INTO PHONE) Do you think he was obsessed? KATE: (V.O./FILTERED) Oh, yeah. He got her address... (SCENE CUT) KATE: (INTO PHONE)... Over the Internet. He said his plan was to contact her as soon as he was released. He didn't want to live without her. CUT TO: GIBBS: (INTO PHONE) Or her without him. KATE: (V.O./FILTERED) McGee... (SCENE CUT) KATE: (INTO PHONE) ... Tracked down the address? (SCENE CUT) GIBBS: (INTO PHONE) Yeah, we're on our way. (END TELEPHONE INTERCUTS) GIBBS: Hey, McGee! Get the... MCGEE: ... Keys to the car. GIBBS: Keys to the car. CUT TO: EXT. CAR WASH - DAY (MUSIC B.G.) GIBBS: We're a little out of place, McGee. MCGEE: Feels like high school. GIBBS: What the hell is that? MCGEE: Believe it's an Escalade, Boss. GIBBS: The wheels, McGee. MCGEE: The rims are called spinners. GIBBS: What's the point? MCGEE: It's a hip hop thing. GIBBS: The more I know the less I understand. GARRISON: Afternoon, gentlemen. Your sedan looks like it could use a wash. GIBBS: We're looking for Jonathan Redding. GARRISON: I'm Rodney, Jon's supervisor. Is there something I can help you with? GIBBS: Yeah, you can point him out to us. GARRISON: He's right over here. I've got him driving today. Jon do something wrong? GIBBS: (SHOUTS) Jonathan Redding! (MUSIC OVER ACTION) MCGEE: (SHOUTS) Stop! Federal agents! Where is he going? CUT TO: INT. CAR WASH - DAY MCGEE: (SHOUTS) Redding! Redding! Redding, stop!(ACTION CONTINUES/ MCGEE MOVES THROUGH THE CAR WASH) CUT TO: EXT. CAR WASH - DAY GIBBS: Anticipate, McGee. CUT TO: INT. OBSERVATION ROOM - DAY TONY: Luke was right. This dude is creepy. KATE: Do you realize you've been talking about Luke since we left? TONY: He's a good guy. KATE: He's a criminal, Tony, and you have a man crush on him. TONY: I do not have a man crush. I just feel bad for the guy, that's all. KATE: Well, I just don't understand what it is about men and their fraternity. It's like this pact to get drunk and laid supercedes everything. TONY: Okay, getting drunk and laid is only like ninety percent of it, and the rest is brotherhood and solidarity. KATE: Well, if you ask me it's as juvenile as Spring break. TONY: Have you ever been on Spring break, Kate? KATE: Yes, I have, Tony. Panama City, junior year. Unlike the girls you're going to see, my friends and I conducted ourselves with complete dignity. TONY: Sounds like a blast. CUT TO: INT. INTERROGATION ROOM - DAY (DOOR OPENS/ CLOSES) REDDING: Finally. I've been sitting here twenty minutes! GIBBS: I'm sorry, Jon. I asked them to put out refreshments, and they must have forgotten. REDDING: Why am I here? GIBBS: Because klling people is illegal. REDDING: I didn't kll anyone! GIBBS: Then why did you run? REDDING: Because I owed the wrong people a lot of money when I went away. GIBBS: Drugs? REDDING: And now that I'm out they're looking to collect. I saw two guys coming at me and I reacted. CUT TO: INT. OBSERVATION ROOM - DAY TONY: He's lying. KATE: Well, if he is he's pretty good.(DOOR OPENS/ CLOSES) MCGEE: Hey. What'd I miss? TONY: Who dressed you? MCGEE: I chased this joker through the car wash, all right? What? We came straight here. This is all I had that was clean. TONY: Your gym clothes were clean? Who would've guessed? (KATE LAUGHS) CUT TO: INT. INTERROGATION ROOM - DAY REDDING: Where'd you get this? GIBBS: The same place I got the other three. Petty Officer Jordan's P.O. Box. REDDING: She never got them? GIBBS: Is that why you klled her? Because she wouldn't respond to you? REDDING: I didn't kll her. I loved her. GIBBS: Where were you Saturday between twelve and one fifteen p.m. REDDING: I was there. I was at the contest. GIBBS: You're not helping your cause much here, Jonny Boy. REDDING: I went there because I wanted to talk to her! Tell her how much she means to me! GIBBS: Why didn't you tell her than when you delivered the flowers? REDDING: She wasn't home! So I left them at the door. I didn't see her at the contest either. I waited, but she never came out. GIBBS: Did you go by yourself? REDDING: Yep. Showed up about a half hour before it started. I stood right in front of the stage until it was over. I didn't kll her. I just wanted to be a part of her life. You have to believe me. CUT TO: INT. LAB - DAY GIBBS: What's the problem, Abs? ABBY: I'm not really sure. The picture was crystal clear when I tested it. There we go. MCGEE: What happened? ABBY: Tony forgot to rewind. TONY: Thanks, Abs. KATE: You already watched this? TONY: I glanced at it. ABBY: He took it home. KATE: What is wrong with you? It's like you have some sort of a sickness. TONY: I had a hunch there might be something on it. KATE: Yeah, like ten half-naked women. GIBBS: Queue it up from the beginning. ABBY: Got it. It was a two-camera sht. One was on the stage and the other was on the crowd for their reactions. GIBBS: Stop. Zoom in on B. That's him right there. Keep running it. KATE: He's where he said he was. MCGEE: Yeah, but he still has until one fifteen to slip away. GIBBS: Speed it up, Abs. MCGEE: It's past one fifteen, boss. GIBBS: He's telling the truth. Jonathan Redding did not kll Petty Officer Jordan. (MUSIC OUT) FADE IN: INT. SQUAD ROOM - DAY TONY: Where's Gibbs? KATE: I don't know. But we do report to him, remember? TONY: I think I found us a lead. MCGEE: Where? KATE: Honestly, Tony, you need help. TONY: You'll sing a different tune when I show this to Gibbs. GIBBS: Show me what? TONY: I was thumbing through Petty Officer Jordan's layout, and I found something I thought you should see. These two photos weren't taken by the magazine. They got them from her. GIBBS: Why? TONY: Something GSM likes to do. Gives the reader a voyeuristic look into the girls' lives. MCGEE: Who do you think took the photos? TONY: Probie, back it up a little bit. MCGEE: Sorry. TONY: In the article, Petty Officer Jordan said they were taken by her boyfriend. MCGEE: I thought she didn't date. TONY: Well, she was pregnant, McGee. There's only one way that can happen. GIBBS: Did you contact, GSM? TONY: I did. They said the photos were taken by a local photographer named Jason Kaplan. He's a freelancer they work with a lot. GIBBS: Check it out. TONY: Okay, don't worry, Boss. I'll keep it professional. GIBBS: Yep, I know you will because Kate's going with you. KATE: I am? TONY: Seems like an in and out job, Boss. Are you sure that that's really necessary? (bat) He's sure. CUT TO: INT. CORRIDOR - DAY TONY: This guy has the life. He spends all day photographing the world's hottest women. KATE: I'm sure his mom is proud. TONY: What's that supposed to mean? KATE: Those pictures are demeaning. They make women look like sex objects. TONY: You need to loosen up. The human body is a beautiful thing and should be admired. (DOOR OPENS) CUT TO: INT. STUDIO - DAY KATE: You're right, Tony. The human body is a beautiful thing. (MUSIC OVER MODELS POSING) JASON: Gorgeous. Don't move an inch. TONY: I feel nauseous. JASON: Great. Okay, guys, let's take five. Todd, you want to make sure to keep them oiled up. (TO KATE) Sorry to keep you waiting. But I didn't want to... break the zone. TONY: I take it this isn't for GSM? JASON: No. No. This is for Sports Monthly. You're looking at three members of the U.S. Water Polo team. KATE: Great uniforms. TONY: Is there anywhere else that we could talk? JASON: I guess we could talk in my office. TONY: That'd be great. CUT TO: INT. KAPLAN'S OFFICE - DAY JASON: Tiffany Jordan. I couldn't believe when I saw her in the news. Such a cute girl. Camera really loved her. TONY: We were wondering about the two small photos at the bottom of her layout. Article said they were taken by her boyfriend. JASON: That's between her and the magazine. My job is just to send in the pictures and get consent from whoever took them. KATE: Do you have that release on file? JASON: Sure. Yeah. I keep records of everything. Personally I find it insulting that magazines publish amateur photos. I spent four years in photography classes. It took me months to get published. TONY: Kevin Holt is Lisa Kerr's fiancé. KATE: Why would he have any reason to photograph Tiffany in the bedroom? TONY: Lisa might be wondering the same thing. CUT TO: INT. LAB - DAY (MUSIC OVER ACTION/ABBY PREPARES SAMPLES) GIBBS: What do you have, Abs? ABBY: A serious hatred of wax. GIBBS: I think you look stressed. ABBY: I compared our victim's wax to over a hundred different products. Each one just one molecule different from the next. Do you know how small a molecule is? MCGEE: I do. ABBY: Shut up, McGee. TONY: I really like this new Abby. ABBY: And after many fun-packed hours of nothing but wax, I found a match. KATE: Does that say Sex Wax? ABBY: That it does. It comes in cool, warm, and tropical. MCGEE: How does it work? TONY: Don't worry about it, Probie. I'm pretty sure you still need a girl first. ABBY: It's not like that. Mister Zog's Sex Wax is a brand made for surfers. GIBBS: Surfers? ABBY: Yeah. They put it on their boards to help with traction. CUT TO: EXT. YARD - DAY GIBBS: Hello, Kevin. KEVIN: Oh, my friends from NCIS. What do you know, boys? TONY: More than you'd like us to. KEVIN: Come again? GIBBS: We know about your relationship with Tiffany Jordan. KEVIN: What relationship? Her and Lisa were friends. I barely knew her. GIBBS: Yeah well, you knew her well enough to take intimate photos of her. Do you do that with all of Lisa's friends? TONY: Your lighting needed work. KEVIN: Look, fellas, it's not what you think. Okay? Her and I - we hung out a couple of times, you know? It was totally innocent. She asked me to help take some photos for this magazine, so I helped her out. GIBBS: Generous of you. Lisa know about the photos? KEVIN: No. No, she didn't even know that Tiffany and I were friends. GIBBS: Well, with nothing going on, why the big secret? KEVIN: Look, Lisa is very insecure. Okay, I come home from a weekend surf tournament, she'd smell my clothes for perfume. I even caught her going through my email a couple of times. TONY: Look at that, Boss. She's suffocating him, and all he's doing is taking lingerie shts of her girlfriends. KEVIN: It's not what you think. I wasn't sleeping with Tiffany. GIBBS: Good. Then you won't mind submitting a DNA sample. KEVIN: Why? Do you have the kller's DNA? All right, fine. You know what? You want me to take a test, I'll take your test. I've got nothing to hide. CUT TO: INT. LAB - DAY ABBY: Ding-ding-ding-ding-ding-ding! We have a winner! Tony, tell us what he's won. TONY: Well, Abby, he's won an all expenses paid iron vacation to sunny Leavenworth. KATE: Keep your day job. GIBBS: May not be an option. What about his prints? ABBY: I compared them to the prints that Tony and McGee got from the beach restroom. They didn't jive. MCGEE: We must've lifted hundred of prints. You sure you ran them all? ABBY: No, McGee. About midway through I got tired so I just said screw it. MCGEE: Just thought I'd check. TONY: Okay, so he didn't leave any prints. All that proves is that he's more careful at a crime scene than he is in the bedroom. CUT TO: INT. INTERROGATION ROOM - NIGHT (DOOR OPENS/ CLOSES) KEVIN: I agreed to take a test. I didn't agree to spend the whole night in this tiny room. TONY: This is a luxury suite compared to what you're looking at. KEVIN: What are you talking about? TONY: You lied to us, Kev. CUT TO: INT. OBSERVATION ROOM - NIGHT (DOOR OPENS/ CLOSES) KEVIN: (V.O.) I don't know what you're talking about. I didn't lie to you about anything. LISA: What's going on? What is Kevin still doing here? GIBBS: Evidence leads us to believe he was involved in Tiffany's mrder. LISA: Oh, no. That's ridiculous. He's not capable of klling anyone. TONY: (V.O.) I've got good news and I've got bad news. CUT TO: INT. INTERROGATION ROOM - NIGHT TONY: Which do you want to hear first? Tiffany was pregnant, and there is a ninety-nine-point-nine-eight percent probability that you are the father. KEVIN: Tiff was pregnant? TONY: I decided to go with the bad news. CUT TO: INT. OBSERVATION ROOM - DAY KEVIN: (V.O.) I had no idea. LISA: He cheated on me? I can't believe he cheated on me. I've given him everything. GIBBS: You never suspected? LISA: Why would I? She's my friend. KATE: It'll be okay. GIBBS: Get her a glass of water, McGee. MCGEE: You bet. LISA: I still don't believe he klled her. CUT TO: INT. INTERROGATION ROOM - NIGHT KEVIN: (V.O.) I thought you said there was (ON CAMERA) some good news. TONY: Right. I almost forgot. There is a point oh two percent chance that you're going to walk out of here. KEVIN: Look, I.... I screwed up, okay? I admit that. CUT TO: INT. OBSERVATION ROOM - NIGHT KEVIN: (V.O.) But I am not a kller. The last time that I saw Tiff... CUT TO: INT. INTERROGATION ROOM - NIGHT KEVIN: ...Was right before we left and we both decided that we'd end it then. TONY: You're not a very reputable guy, Kev. Why should we believe you? KEVIN: Because I'm telling you the truth! CUT TO: INT. OBSERVATION ROOM - NIGHT TONY: (V.O.) If you didn't have anything to do with this, why'd you avoid us? CUT TO: INT. INTERROGATION ROOM - NIGHT KEVIN: What are you talking about? I never avoided you. TONY: (OVERLAP) We've been calling you for two days. I left four messages on your cell phone. CUT TO: INT. OBSERVATION ROOM - NIGHT LISA: He's lying! He never left him any messages! GIBBS: How do you know? SWISH PAN TO: INT. INTERROGATION ROOM - LATER (DOOR OPENS/ CLOSES) GIBBS: Sure you don't want to call your lawyer? LISA: I didn't do anything wrong. I just want to get this over with. GIBBS: It must've been a shock when you heard Tiffany's message. No one would blame you for being angry. LISA: I didn't listen to any message, okay? I wouldn't invde Kevin's privacy like that. GIBBS: You didn't have any problem searching through his e-mail. LISA: He told you that? GIBBS: We lifted your fingerprint from this glass. It matches a print we found a few feet from Tiffany's body. LISA: I think I'd like to call my lawyer now. GIBBS: I think that's probably a good idea. CUT TO: INT. SQUAD ROOM - NIGHT (SFX: TONY WHISTLES B.G.) KATE: I thought you were leaving. TONY: I'm on my way. See you next week. KATE: Try not to embarrass yourself, Tony. TONY: Come on, Kate. I'm way too grown up for that. CUT TO: INT. BAR - NIGHT (CROWD CHANTS: "Go! Go! Go! Go!") (MUSIC OVER ACTION) (TONY LAUGHS/ SHOUTS) TONY: You're pretty. You're pretty. I'm pretty. I'm going to the head. (TONY WALKS TO THE HALLWAY/LOOKS AT THE PHOTOS) TONY: I love this place. Oh, yeah. Ah... (LAUGHS LOUDLY) (CUT TO BLACK) (MUSIC OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x18 - Bikini Wax"}	foreverdreaming
FADE IN: INT. BEDROOM - NIGHT VOICE: (CREEPY ECHO F/X) Jes-si-ca! Jessica! Over here. Over here! (CREEPY VOICE CONTINUES) (MUSIC OVER ACTION/BLANKET TEARS FROM THE BED) (JESSICA SCREAMS) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "CONSPIRACY THEORY"(TONY DOES SIT-UPS B.G.) TONY: Thirteen, fifteen, seventeen... nineteen... KATE: Did you lose something down there, DiNozzo? TONY: Ninety nine, a hundred. Just doing my morning exercise. KATE: Right. So how old's this one? TONY: Why does it always have to be another woman, Kate? KATE: Uh, because we're talking about you? MCGEE: Got your favorite here. Bacon-sausage-cheese breakfast burrito. TONY: I'll pass. Too much fat. MCGEE: She must be really young. ABBY: Oh, she is. TONY: I don't think they need to know about her, Abs. ABBY: She's five ten, black hair, long legs, and gi-normous headlights. TONY: That last part was really necessary? ABBY: That is what you called them. She broke down by the Navy Yard last night, and Tony helped her out. KATE: Oh, I bet he did. ABBY: She's a junior at Georgetown. KATE: Hmm. So that would make her what, about twenty? MCGEE: Actually, she could be younger. I was eighteen when I was a junior at MIT. TONY: When we need clarification, we'll ask for it, Probie. Thank you. KATE: Oh, I'm asking. How old, Abby? ABBY: Well, she was old enough to turn Tony down. Said she only goes out with guys in their twenties. KATE: Oh, poor baby. TONY: She wasn't my type anyway. KATE: Well, that's a good thing because I think it's time that the "Sex Machine" hung his spurs up. (SFX: DOORS SLIDE OPEN) TONY: How do you know about that? KATE: Your college nickname? Let's just say that dating your fat brother has its advantages. GIBBS: Grab your gear. We're going to Georgetown. Petty Officer was asault in her home last night. You're driving... Sex Machine. (SFX: E-MAIL BEEP TONE) TONY: Kate, I'd check your email before we go. It's kind of important. (KATE OPENS HER E-MAIL) KATE: Where did you get this?? TONY: Wet T-shirt Wall of Fame, Spring Break Ninety-four. Saw it when I was in Panama City last month. KATE: Oh, my god. TONY: I was going to keep it to myself, then you decided to tell everyone my pledge name. KATE: You wouldn't dare. TONY: Oh!(SFX: E-MAIL BEEP TONE) KATE: Tony! Tony, come on. We can work this out.(DOORS SLIDE SHUT) CUT TO: EXT. JESSICA'S HOUSE - DAY TAYLOR: Name's Petty Officer Jessica Smith. Claims intruder in military fatigues entered her home and tried to attck her. GIBBS: What do you mean, tried? TAYLOR: At this point? I'm not even sure there was an attacker. CUT TO: INT. BEDROOM - DAY (DOOR OPENS) SMITH: Who are you? GIBBS: Special Agents Gibbs and Todd, NCIS. SMITH: (WHISPERS) We have to talk, but not here. They're listening. KATE: Who's listening, Petty Officer? SMITH: I wish I knew. GIBBS: Turn the radio on. There. They can't hear us now. Tell me about last night.(RADIO PLAYS B.G.) SMITH: How ... how do I know I can trust you? GIBBS: Because we're here to help. SMITH: I heard voices... whispering. GIBBS: Saying what? SMITH: I couldn't tell, but it was about me. You have to protect me. GIBBS: From what? SMITH: Monsters.(DOOR OPENS) WITTEN: Jessica? It's going to be okay. TONY: Boss, the Commander refused to wait outside. WITTEN: Lieutenant Commander Allan Witten. I'm Petty Officer Smith's psychologist. GIBBS: Outside. Now. WITTEN: Very well. SMITH: (CRYING) I don't want to go back. I can't go back. Please don't make me go back. CUT TO: INT. LIVING ROOM - DAY WITTEN: (V.O.) Jessica is under my care. When she missed her phone session this morning, I became concerned. TONY: What's wrong with her? WITTEN: She's been diagnosed with Brief Reactive Psychosis. We believe it's been triggered by the death of her fiancé in Iraq last month. GIBBS: Yeah? Why isn't she in the hospital? WITTEN: As her condition improved, we released her, treated her as an outpatient. TONY: She told the cops there was a man in her bedroom in camouflage utilities and body armor. WITTEN: Was she hearing voices and did he have a Knfe? GIBBS: How do you know that, Commander? WITTEN: It's a delusion, Agent Gibbs. She's had several just like it at Bethesda. I need to get her back. Gentlemen, I assure you, no crime has been committed here. GIBBS: Why don't you let me decide that? CUT TO: INT. TRUCK - PARKED KATE: I'm very, very sorry for the sex machine crack, Tony. It was insensitive and rude. I swear it won't happen again. TONY: Whatever. KATE: Damn it. What are you going to do with it, DiNozzo? TONY: I haven't decided yet. I thought it might make a nice poster. MCGEE: What would? KATE: I am warning you. It will be wr. Hell on earth. MCGEE: What are you guys talking about? TONY: None of your business, Probie! KATE: (IN UNISON) None of your business, McGee! (DOOR OPENS) GIBBS: The Petty Officer Smith say anything while I was talking to her shrink? KATE: No, all she kept telling me was to call her C.O., and let him know that the monsters are after her again. From all appearances, I'd say she had a relapse. GIBBS: Well, my first two marriages were based on appearances. Pull Petty Officer Smith's records when we get back. (TRUCK DRIVES O.S.) CUT TO: INT. NCIS SQUAD ROOM - DAY KATE: Navy Achievement Medal winner. Sailor of the Quarter three times. She is an outstanding sailor, Gibbs. TONY: Lot of overachievers and perfectionists lose it. My uncle ran a Fortune Five Hundred company until they found him digging up holes in a golf course looking for mole people. You're a perfectionist, aren't you, Kate? MCGEE: Before her breakdown, she was working for the Department of Acquisitions at the Pentagon. GIBBS: Who was her C.O.? TONY: Captain Ross Vetter. There's an open case file on him, Boss. GIBBS: Why don't I know about it? TONY: It's not ours. It's the FBI's. They opened it about a month before Smith had her psychotic break. GIBBS: What are they investigating Vetter for? TONY: I can't tell - they're not letting NCIS access the contents of the file. GIBBS: McGee! MCGEE: You want the FBI's case file on Captain Vetter. On it! GIBBS: Let's roll. TONY: Where to? GIBBS: To ask Petty Officer Smith some questions about monsters. CUT TO: INT. SEVEN WEST - DAY REYNOLDS: Hi, I'm Catherine Reynolds. We've been expecting you. Welcome to Seven West. Commander Witten is on his way down here. WILLIAM: I can tell you everything there is to know about this place. REYNOLDS: They don't need to know anything, William. WITTEN: All you have to do is ask me. Who's got the power? Who's cool? Who's got the baby oil? REYNOLDS: That's enough, William. Go back to group. Oh, there's Commander Witten now. GIBBS: Kate, you're with me. TONY: Uh... boss? What about me? REYNOLDS: Conflict in the workplace? TONY: You have no idea. REYNOLDS: I have a theory that most of it results from unresolved sexual issues. TONY: Really? REYNOLDS: It certainly has been the case for me. I could use a drink. How about you? MORGAN: Mrs. Reynolds. Did you get that shirt out of the laundry room? You know the doctors warned you about this kind of behavior. REYNOLDS: Yeah, well the doctor doesn't have an ass like this one. Sorry, I can't help myself sometimes. CUT TO: INT. CORRIDOR - DAY WITTEN: She's being sedated. She'll sleep through the night. GIBBS: I want to talk to her when she wakes up. WITTEN: Absolutely not. She's paranoid of authority figures. GIBBS: From what I've seen, the only one she seems paranoid about is you. WITTEN: She had a delusional episode. This has nothing to do with NCIS. You can check back in a few weeks. GIBBS: We'll see you tomorrow. WITTEN: I have a degree in clinical psychology. Do you have any expertise in the area, Agent Gibbs? GIBBS: No. No, I do not. Just a B.S. meter. See you in the morning, Doc. CUT TO: INT. NCIS SQUAD ROOM - NIGHT MCGEE: The FBI is stonewalling us, boss. They claim that the Captain Vetter case is classified. TONY: Last time I checked we had clearances, Probie. MCGEE: Well, they're still not releasing the info, Tony, but I did call the Pentagon and I spoke with the Admiral in charge of his office. The FBI thinks that Captain Vetter was taking kickbacks in exchange for government contracts. He's on administrative leave, pending the outcome of the investigation.. GIBBS: They say anything about Petty Officer Jessica Smith? MCGEE: Yes, she was questioned, but so was everybody else in Vetter's group. KATE: Well, if she was found mentlly ill, it would excuse her from testifying against her boss. TONY: She didn't look like she was faking it to me. KATE: Something tells me you say that a lot. TONY: Kate, when they pour cold water over your chest, doesn't that sort of make you-- GIBBS: Hey, DiNozzo! If you do that again, I will put my boot so far up your ass. (INTO PHONE) Yeah, Gibbs. SMITH: (V.O./FILTERED) Agent Gibbs...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) SMITH: (INTO PHONE) I should have told you before. We have to talk, Sir. (SCENE CUT) GIBBS: (INTO PHONE) Yeah. Yeah, I'm listening. (SCENE CUT) SMITH: (INTO PHONE) Not like this. They're listening. (SCENE CUT) SMITH: (V.O./FILTERED) You've got to help me. GIBBS: (INTO PHONE) Yeah, all right. We're on our way. (SCENE CUT) SMITH: (INTO PHONE) Hurry, please! (SCENE CUT) GIBBS: (INTO PHONE) Jessica, stay on the phone with me. (SCENE CUT) GIBBS: (V.O./FILTERED) You just keep talking to me, Jessica. SMITH: (INTO PHONE) I can't. Just get here.(DOOR OPENS) (END TELEPHONE INTERCUTS) CUT TO: INT. SQUAD ROOM - DAY GIBBS: Kate, come on. With me. CUT TO: INT. HOSPITAL CORRIDOR - DAY GIBBS: Jessica Smith's room? MORGAN: Sir, I'm not authorized. Commander Witten told me under no- (SFX: GIBBS HITS THE WINDOW WITH HIS FIST) GIBBS: (SHOUTS) Open her door or I'll break it down! (MUSIC OVER ACTION) (DOOR OPENS) (MUSIC OUT) MUSIC IN: INT. HOSPITAL ROOM - DAY GIBBS: Find out who else she called. Check out her speed dial and phonebook. MCGEE: On it. DUCKY: She should have been observed twenty four hours a day, Jethro. A young, troubled girl like this being left alone all night is negligent at best! WITTEN: My god! Did she leave a note? GIBBS: No. If she did, what would she have written? WITTEN: I don't know. (WITTEN WALKS INTO THE HALLWAY) DUCKY: He was the one responsible for the Petty Officer? GIBBS: Easy, Duck. CUT TO: INT. CORRIDOR - NIGHT DUCKY: Commander. How could you have allowed this young woman to be left alone all night? WITTEN: There was a Corpsman on duty. DUCKY: One Corpsman for an entire ward? WITTEN: We had seven patients. None were considered su1c1de risks. DUCKY: I'm sure their family will take great solace from that. JIMMY: She's ready, Doctor Mallard. DUCKY: Well, let's get her home, Mister Palmer. CUT TO: INT. CORRIDOR - DAY REYNOLDS: What's going on? WILLIAM: Jessica klled herself. I heard them say it. She's deader than dad. REYNOLDS: Is it true? WITTEN: I'm afraid so, Catherine. Corpsman, can we get everyone in the day room, please? MORGAN: Yes, Sir.(ALL TALK B.G.) TONY: I take it you knew her well? REYNOLDS: We spent a month together here. It's about a good chick bonding experience as any. TONY: Ah, it must be difficult. REYNOLDS: It's hard. TONY: Yeah, I know. REYNOLDS: Really, really hard, Agent Tony. GIBBS: If you're not too busy, DiNozzo. TONY: You're a shy little thing. Yeesh! CUT TO: INT. NURSES' STATION - NIGHT MORGAN: I didn't hear anything, Sir. GIBBS: Is this where you were most of the night? MORGAN: Unless I was making my rounds. KATE: When's the last time you checked on Petty Officer Smith? MORGAN: Nineteen thirty, Ma'am. She was sedated and sleeping peacefully. TONY: If she was sedated, how did she manage to call us? KATE: And hang herself? MORGAN: Ma'am, I've seen patients kll themselves by stuffing their noses and throats full of toilet paper. If they want to do it, they find a way. GIBBS: Or they're helped. Who classified her a non-su1c1de risk? MORGAN: Commander Witten, Sir. GIBBS: All right, that's all for now. MORGAN: Yes, Sir. MCGEE: Boss, finished processing her room. Okay to tape it off now? GIBBS: Yeah. Go ahead. Do it. I also want everything on Witten and every contact he's had with Petty Officer Smith. MCGEE: Tonight?! (bat) Oh, I'll get right on it. What about doctor/patient confidentiality? TONY: It doesn't exist in the military anymore, Probie. And sadly for some, it doesn't exist between NCIS teammates either. KATE: You're wasting your time. It doesn't bother me anymore, Tony. TONY: Probie, want to see something hot? MCGEE: Sure. KATE: What's it going to cost me? TONY: I don't know. Do you still have that Catholic schoolgirl uniform? CUT TO: INT. SQUAD ROOM - DAY FORNELL: Agent DiNozzo. TONY: I thought you were dad, Fornell. FORNELL: I got better. TONY: Does Gibbs know you're sitting at his desk? FORNELL: Just checking my e-mail. Don't think he'll mind. TONY: (WHISPERS) How long has he been here?(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) MCGEE: Since I got in. KATE: Isn't he supposed to be dad? TONY: Got better. KATE: Does Gibbs know he's sitting at his desk? TONY: No. KATE: Oh, this is going to be... TONY: Great! GIBBS: Comfortable? FORNELL: Not really. There's no lumbar support. And you should get a password to protect your computer. GIBBS: That's what this is for. What do you want, Tobias? FORNELL: I'm hurt! Can't an old friend just stop by and say hi? GIBBS: Well, you are old. I'll give you that. FORNELL: Our usual conference room? GIBBS: Lead the way. (TO MCGEE) Hey, you make sure he didn't do any of that virus goat rope crap to my... my thing. MCGEE: Goat rope? TONY: Marine term, Probie. KATE: He means half way between FUBAR and SNAFU. MCGEE: Okay. What's a FUBAR? TONY AND KATE: (IN UNISON) You are. CUT TO: INT. ELEVATOR - DAY GIBBS: Why is the FBI investigating a Navy Captain without informing us, Fornell? FORNELL: I forgot. You always inform us when one of your cases strays into FBI jurisdiction. GIBBS: I want to know about this case. FORNELL: They're looking at a Captain Vetter for taking kickbacks. GIBBS: You came all the way down here to tell me that? FORNELL: That - and they want you to back off, Jethro. (GIBBS CHUCKLES) FORNELL: Believe me, I told them it was futile. GIBBS: What does Petty Officer Jessica Smith have to do with this? FORNELL: No idea. I'm just the messenger here. GIBBS: Now why don't I believe that? FORNELL: I'd say mostly because you're a bastard. But it wouldn't do any good, would it? I'll see what I can find out for you. No promises. GIBBS: Tobias, you owe me. FORNELL: You're calling that in for a B-and-E on some Petty Officer's house? GIBBS: She's dad! FORNELL: How? GIBBS: She klled herself last night. I want to know why. FORNELL: I'll find out...under one condition. GIBBS: Name it. FORNELL: You don't do anything to jeopardize our investigation into Captain Vetter. GIBBS: I wouldn't dream of it. FORNELL: Why don't I believe that? GIBBS: Mostly because I'm a bastard. CUT TO: INT. SQUAD ROOM - DAY GIBBS: Hey, McGee! MCGEE: Boss! GIBBS: Get me the home address of Captain Ross Vetter. And get the sedan. CUT TO: EXT. CAPTAIN VETTER'S HOME - DAY (DOOR BELL RINGS) (DOOR OPENS) VETTER: What do you want? GIBBS: To hear your side of the story. Off the record.(DOOR CLOSES) CUT TO: INT. LIVING ROOM - DAY VETTER: I'm being railroaded. GIBBS: By who? VETTER: The military industrial complex. I wouldn't play their game. GIBBS: What kind of game is that, Captain? VETTER: Do you know how defense contracts are decided in this country? GIBBS: Usually by the lowest bidder. VETTER: Every Senator, every Congressman, tries to grab a piece of the pie for their own people. MCGEE: For their state? VETTER: No, the people. The corporations that fund their campaigns. And then hire them after they get out of office, Agent McGee. GIBBS: Do you think that's why the FBI is investigating you? VETTER: I know it! I was trying to change that system and now I'm paying for it. (VETTER KNOCKS HIS GLASS OVER) VETTER: Damn it! Sweetheart? Audrey? We need some towels out here. GIBBS: Kind of early for the single malt, isn't it, Skipper? VETTER: You have no idea what the last couple of months have been like for me, for my family. GIBBS: No, I don't. But you don't know what it's been like for Petty Officer Smith. VETTER: I've been meaning to visit her. GIBBS: A little late for that. MCGEE: Jessica Smith klled herself last night, Captain. VETTER: I knew she was having some issues when her fiancé died but... do you know why? MCGEE: That's what we're hoping to find out. AUDRY: When are you people going to leave us alone? VETTER: It's all right, sweetheart. They're NCIS agents. AUDRY: I don't care, Ross. I'm not answering anymore questions. I want them out of my home. VETTER: I'm sorry to hear about Jessica. She was like a daughter to me. I should have been there for her. GIBBS: She wanted us to pass a message on to you, Captain. MCGEE: The monsters were after her again. VETTER: The monsters? I don't understand. GIBBS: We don't either... yet. If you think of anything that might help, call me. VETTER: Of course. GIBBS: Sorry to bother you, Ma'am. You have a beautiful home. When I was a Marine, I could have never afforded a place as nice as this. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: She was right, Jethro. Monsters were after her. Hanging leaves a telltale V mark on the neck here and here. And here as you can see, these marks are missing from her neck. Yes also, I found bruising and clotting on the inside of her nose and on the inside of her lips. GIBBS: She was smothered. DUCKY: Yes. Poor girl was dad long before the noose ever went anywhere near her neck. This was no su1c1de, Jethro. Our Petty Officer was mrder. (MUSIC OUT) FADE IN: INT. NCIS GARAGE - DAY KATE: (V.O.) Look familiar, sex machine? TONY: Now that you mention it... nope, it's a different style t-shirt. See? KATE: I'm begging you, don't! TONY: You gonna be nice? KATE: Yes. GIBBS: See what? TONY: Nothing, Boss. I'm just admiring Abby's handiwork. GIBBS: Why? ABBY: Well, I was bored and I thought she needed a little personality. GIBBS: Does she have a purpose, Abby? ABBY: Several, in fact, according to her instruction manual. GIBBS: For the case, Abs. ABBY: Oh, right. Um... I think I know how Petty Officer Smith was strung up. According to her hospital chart, she was given fifteen milligrams of Trazodone when she arrived at Bethesda. That's enough to zonk her out for most of the day. KATE: Then how did she make the phone call asking us for help? ABBY: Well, it would have started to wear off. She would have been weak, sluggish. At least enough for this... TONY: Except there were no signs of a struggle, Abby. ABBY: Have you ever been on Trazodone, Tony? I mean, she couldn't have fought off a ten year old. But still there is a problem. GIBBS: How'd they hang her afterwards? ABBY: Correct as always, my silver-haired fox. I mean Gibbs-Sir-Boss. See what's missing? TONY: Nothing to stand on. ABBY: Exactly. How did the kller lift her body afterwards? KATE: There were two of them? ABBY: Possible. But there's a simpler way. The legs of the bed act as a fulcrum. (SFX: BED CLANKS UPRIGHT) ABBY: Making it easy for one person to lift Jessica's weight. TONY: That would have made some noise. KATE: Enough that you probably would have heard it at the nurses' station. GIBBS: Manned by Corpsman Morgan. Have him report to NCIS tomorrow. Don't tell him why! KATE: I saw that. TONY: Saw what? KATE: Nothing. I saw nothing. CUT TO: INT. BASEMENT - DAY GIBBS: You want some of this? I've got a clean cup around here somewhere. FORNELL: I'm not worried about your cups, Gibbs. How can you drink that rotgut? GIBBS: Easy. It's got alcohol in it. FORNELL: Mccallan Eighteen. Now there's a drink. GIBBS: What'd you find out about the FBI investigation into Captain Vetter? FORNELL: Officially not much. GIBBS: Unofficially. FORNELL: They weren't getting very far. So they decided to go for someone weaker in his office. GIBBS: His personal assistant, Petty Officer Smith. Why shut NCIS out of it? FORNELL: They worked her over pretty hard. Didn't think you'd go along with it. thrat, jail time. They forced her to wear a wire to work. GIBBS: That woman just lost her fiancé in Iraq, Fornell. FORNELL: Which only made her more vulnerable - easy to manipulate. GIBBS: Man, you call me a bastard. FORNELL: It wasn't my case, Gibbs. I'm just here doing a favor. That said, they think she was hiding something. GIBBS: What? FORNELL: Unfortunately, she klled herself before they could find out. GIBBS: Jessica Smith did not commit su1c1de. She was mrder. FORNELL: By whom? GIBBS: That's a hell of a question, Tobias. That's what you're going to help me find out. CUT TO: INT. SQUAD ROOM - DAY TONY: Book-on-tape Club? KATE: Jessica Smith's therapy sessions. TONY: Anything interesting? KATE: Not with her psychologist, Commander Witten. She's evasive, afraid to talk. MCGEE: She's a little more outgoing in the group sessions, but not by much. TONY: Is her friend Catherine Reynolds on those tapes, Probie? MCGEE: Yes. Ms. Catherine Reynolds... she is the one that talks about sex a lot. It gets kind of graphic. TONY: Oh, okay. I'm going to need to listen to those and probably take them home... KATE: Tony! What is wrong with you? (bat) Um... burn him a copy, McGee. TONY: What I was going to say, if the Petty Officer was afraid to talk in public, she might be talking in private. MCGEE: She may have opened up to some of her friends inside the ward? It's a good idea. TONY: It's a well-known fact, Mister McGee, that women tell each other everything. KATE: That would explain why none of my friends will go out with you. TONY: I'm sorry. Say something? KATE: Nothing. MORGAN: Agent DiNozzo? TONY: Yeah. MORGAN: I was told to report to you this morning. TONY: Not to me, Petty Officer. To him. MUSICAL BRIDGE TO: INT. OBSERVATION ROOM - DAY MORGAN: (FILTERED) Am I in trouble? GIBBS: (FILTERED) Depends. MORGAN: (FILTERED) On what, Sir? GIBBS: (FILTERED) You told us you were at the front desk your entire watch. CUT TO: INT. INTERROGATION ROOM - DAY MORGAN: Except for when I was making rounds, Sir. GIBBS: How long do the rounds take? MORGAN: A few minutes. GIBBS: A few minutes? Okay, I got that. Did you see anyone else come in or out of the exit of the ward that night? MORGAN: No, Sir. GIBBS: What about hearing anything unusual? MORGAN: No, nothing... until you showed up, Sir. GIBBS: Yep. We've got us a problem, Petty Officer. MORGAN: Sir? GIBBS: Jessica Smith was mrder last night. CUT TO: INT. OBSERVATION ROOM - DAY MORGAN: (FILTERED) mrder? GIBBS: (FILTERED) And according to you... you're the only one that could have done it. KATE: There's no way he did it. Look at his reaction. TONY: Maybe he's just a good actor. KATE: Nobody's that good. TONY: I've been thinking, Kate, about the photo... I'm sorry. I mean, you know I'd never give it out, right? In fact, I'm going to delete it right now. KATE: Really? TONY: Mm-hmm. KATE: Thank you, Tony. That would be a huge relief. What are you doing?! TONY: Acting, Kate. It's not that hard. MORGAN: (FILTERED) I... I lied, Sir. CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: Yeah. Yeah, I kind of figured that out for myself, Petty Officer. MORGAN: I screwed up, Sir. I really screwed up. GIBBS: I kind of figured that one out, too. MORGAN: I left my post for about forty minutes. I was... with someone. GIBBS: Does this person have a name? MORGAN: One of the... patients, Sir. Catherine Reynolds. GIBBS: Doing what? MORGAN: We've been having sex for three months now. CUT TO: INT. NCIS SQUAD ROOM - DAY GIBBS: Tony, I want you to talk to Catherine Reynolds. See if she'll verify Morgan's alibi. TONY: My pleasure. GIBBS: Kate, you're with me. McGee! McGee!! What the hell are you doing?! MCGEE: I'm listening to Petty Officer Smith's group therapy sessions. There are two people that she interacts with the most, Catherine Reynolds and Lynn Simons. They've got a lot in common: knitting, crossword puzzles, the TV show Quantum... GIBBS: McGee! MCGEE: But I think they may be friends. GIBBS: Why does this matter? MCGEE: Well, she may have confided in them, told them something that she didn't tell anybody else. GIBBS: Good thinking, McGee. TONY: I'm the one who came-- GIBBS: Tony! Go babysit our Corpsman in interrogation. McGee, you interview Reynolds and Simons. TONY: Why didn't you tell him I had that idea? MCGEE: Tony, a wise man once told me there's no "I" in team. CUT TO: INT. ELEVATOR - DAY (DOORS SLIDE SHUT) KATE: Where are we going? GIBBS: Jessica Smith's house. I think she was telling the truth about someone being in her bedroom. CUT TO: EXT. SMITH'S HOUSE - DAY (MUSIC OVER ACTION/GIBBS AND KATE WALK TO THE FRONT DOOR) (SFX: gn) GIBBS: (SHOUTS) Down! Are you okay? KATE: Yeah. GIBBS: Let's get this bastard. CUT TO: INT. LIVING ROOM - DAY (DOOR BURSTS OPEN) (MUSIC OVER ACTION/GIBBS AND KATE SEARCH THE HOUSE) (DOOR OPENS) (SFX: CAR ENGINE STARTS) (SFX: gn) CUT TO: EXT. HOUSE - DAY (SFX: TIRES SCREECH) GIBBS: Did you get a plate? KATE: No! GIBBS: God damn it! CUT TO: INT. BEDROOM - DAY KATE: What do you think they were looking for? (MUSIC OVER ACTION/GIBBS AND KATE SEARCH THE VENTS) KATE: I found something. Not quite sure what. Have any idea? GIBBS: That's a radio receiver and broadcast speaker. KATE: I guess Jessica Smith was hearing voices. GIBBS: Yeah, and they weren't in her head. (MUSIC OUT) MUSIC IN: INT. NCIS LAB - DAY ABBY: So the parts are off the shelf, but the execution is very, very sophisticated. The receiver is actually the guts from a disposable cell phone. You dial the number and the device activates. GIBBS: Like a trror1st bmb. ABBY: Well yeah, but in this case, instead of an explsin we get this... (CREEPY VOICE ECHO) Jessica, Jessica, over here, over here. GIBBS: Whoa. ABBY: It's like the sound track to Friday the Thirteenth. You know, the movie? There are like eleven of them. Oh, Gibbs. You really need to get out of your basement more. GIBBS: What were they about? ABBY: Basically there's this guy that wears a hockey mask and he kills teenagers with a machete usually right after they had sex. GIBBS: Why? ABBY: Well, he died at summer camp so his mother klled everyone there. But he was actually alive and he was living in the woods. But then he died and he went to hell. And then he was frozen and he went to outer space.... It's complicated. GIBBS: You don't know, do you? ABBY: Not a clue. I keep hoping they're going to explain in the next one. GIBBS: You call me when you find something, Abby. (GIBBS WALKS INTO THE OUTER LAB) (CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. ABBY: (V.O./FILTERED) Found something! (GIBBS WALKS BACK TO THE LAB) ABBY: See this? GIBBS: Yes. ABBY: I cut myself today installing a graphics card in my computer. GIBBS: Okay? You want me to kiss it or something? ABBY: That'd be really nice, but it's not my point. Most of the metal inside electronics is unfinished. I cut myself all the time on burs and rough edges. GIBBS: Yeah, well you ought to try building a boat with hand tools after a couple shts of Jack. ABBY: Anyway, my point is I was snooping around the circuit board, and I found... this. (bat) It's blood, Gibbs. Whoever assembled this cut themselves. We have their DNA. GIBBS: That's great work, Abby. Feel better? ABBY: Much. CUT TO: INT. BETHESDA DAY ROOM - DAY WITTEN: Is there some reason why you people don't feel the need to call ahead? Or is it that you just enjoy arriving unannounced like this? MCGEE: Depends on the situation, Commander. WITTEN: Well, I have a ward to run here. I don't have time for this, Agent McGee. MCGEE: I'm here to interview several of your patients. Catherine Reynolds and Petty Officer Lynn Simons. WITTEN: Simons was discharged from the Navy three weeks ago. Catherine Reynolds is in her room and I do not want her disturbed. You should have called. I could have saved you the trip. MCGEE: Commander, it wasn't a request. WITTEN: Do you have any idea how upsetting your presence was the other night? MCGEE: Some. Do you have any idea what's going on inside your own ward? WITTEN: And what exactly is that supposed to mean? MCGEE: Well, we can start with Corpsman Morgan having sex with Mrs. Reynolds during the last three months. WITTEN: That's impossible. I would have known. MCGEE: Or we can end with Jessica Smith's mrder. It's your call, Commander. CUT TO: INT. BEDROOM - DAY (KNOCK ON DOOR) WITTEN: (V.O.) Catherine, it's Commander Witten. Are you decent? REYNOLDS: If I was, I wouldn't be in here, Doc. Go away! WITTEN: (V.O.) You have a visitor. It's NCIS Special Agent McGee. (DOOR OPENS) REYNOLDS: Bummer, thought it was the cute one. MCGEE: Well, I just need to ask you a few questions, Ms. Reynolds. REYNOLDS: Okay, as long as I can ask you some back. WITTEN: I'll just be down the hall.(DOOR CLOSES) MCGEE: Uh... this is about Corpsman Timothy Morgan, Ma'am. Um... claims that he has been in a relationship with you and that on the night of Jessica Smith's death, he was... REYNOLDS: With me, knocking boots. You take what you can get around here, Agent McGee. My turn. Are you a virgin? MCGEE: No. REYNOLDS: Are you sure? MCGEE: The last time I checked. And that was two questions, Ms. Reynolds. What time were you with Morgan? REYNOLDS: I think it was between seven and eight thirty. MCGEE: And uh... were you close to Jessica Smith at all? REYNOLDS: I really liked her. She didn't belong here. Ever been in love? MCGEE: Love? Yeah, sometimes I think I might have been. Yeah. REYNOLDS: Honesty. I like that. Very rare in men. MCGEE: Did Jessica ever tell you anything about her problems? REYNOLDS: Yes. MCGEE: So what did she say? REYNOLDS: She was having an affair with a married man. MCGEE: She tell you his name? REYNOLDS: Nope. MCGEE: All right. Well, thank you, Mrs. Reynolds. You've been very helpful. REYNOLDS: But she did tell Lynn Simons, who then told me. Boxers or tighty-whiteys? MCGEE: Uh depends, I guess both. REYNOLDS: What about right now? MCGEE: Boxers. REYNOLDS: He was her C.O. The bastard never returned any of her phone calls in here. So she asked Lynn to deliver a message for her. CUT TO: INT. SQUAD ROOM - DAY MCGEE: Petty Officer Lynn Simons. Avionics and electronics tech. She received a medical discharge three weeks ago. Jessica Smith asked her deliver a message to Captain Vetter. She loved him and promised to forgive him if he would just contact her. KATE: Simons failed to report to her therapy session at the V.A. two weeks ago. No one's seen her since, Gibbs. GIBBS: Find her. McGee, get Captain Vetter in here. If he refuses, put him in cuffs. TONY: You might want to hear this, Boss. Vetter and Commander Witten both served on the USS Kennedy in ninety nine. KATE: It's a big ship, Tony. Could be a coincidence. GIBBS: Yeah, I don't believe in coincidences. (INTO PHONE) Hey, it's me. We need to talk. CUT TO: INT. OBSERVATION ROOM - DAY MCGEE: So - what's the plan, good cop, bad cop? KATE: More like bad cop, scary cop, McGee. MCGEE: Which one's which? KATE: I think you'll have to ask their ex-wives that one. VETTER: (FILTERED) I demand to know what the hell is going on here! CUT TO: INT. INTERROGATION ROOM - DAY FORNELL: Not much. Just the end of your life as you know it, Captain. VETTER: You see what I've had to deal with, Agent Gibbs? thrat, intimidation? I won't stand for it! GIBBS: You told me Petty Officer Smith was like a daughter to you. VETTER: What's that got to do with this? GIBBS: Considering you were sleeping with her, a lot. VETTER: I want a lawyer. GIBBS: Yeah, you'll need one. She was mrder. FORNELL: We think it was you. GIBBS: Where were you Wednesday night? VETTER: At home with my wife. FORNELL: Well, we checked with her, Vetter. She said you went out. Didn't come back till around midnight. VETTER: No, she's lying! GIBBS: Maybe. FORNELL: They do tend to get vindictive when they find out you've been cheating on them. CUT TO: INT. OBSERVATION ROOM - DAY VETTER: (FILTERED) You told her about Jessica? GIBBS: (FILTERED) I did. You might want to consult a divorce lawyer while you're at it. CUT TO: INT. INTERROGATION ROOM - DAY VETTER: I didn't kll Jessica. I loved her, for God's sake. FORNELL: He loved her, Gibbs. I guess that's it then. We've got to let him go. GIBBS: Sure. After eighty or ninety years in Leavenworth. FORNELL: You have means, you have motive and you have no alibi, Vetter. GIBBS: She catch you taking the kickbacks or was she just helping you? VETTER: She caught me. The money was supposed to have been for us, after the divorce. But I swear to you both, I didn't - I couldn't kll her. FORNELL: You know what might help me believe him, Gibbs? GIBBS: If he started crying? FORNELL: No. If the good Captain here told us where the money is. VETTER: Are you offering me a deal? GIBBS: Depends... who else knew the location of the money? VETTER: Only me, me and Jessica. MUSICAL BRIDGE TO: INT. MTAC ROOM - DAY TONY: (V.O.) He's telling the truth, Boss. He stashed the money in a gym locker. CUT TO: INT. CAR - PARKED TONY: (INTO PHONE) Looks to be around eight hundred thousand in a green duffle bag CUT TO: INT. MTAC ROOM - DAY FORNELL: Who do you think's going to pick it up, Gibbs? GIBBS: Our kller. MCGEE: Boss, the GPS marker Tony put with the money is showing movement. GIBBS: (INTO RADIO) Bag's in play, DiNozzo. Have Kate tighten up on the entrance. CUT TO: INT. CAR - PARKED TONY: (INTO RADIO) Roger that. (TO KATE) Tighter on the entrance. (V.O.) Petty Officer Simons, Boss. GIBBS: (V.O.) Well yes, Tony. We can all see that. TONY: (INTO RADIO) Take her down? GIBBS: (V.O.) Negative! CUT TO: INT. MTAC - DAY GIBBS: I want to see where she takes it. FORNELL: Whoa. That's eight hundred thousand in there, Jethro. GIBBS: Relax, Tobias. It's not yours. CUT TO: INT. NCIS LAB - DAY (COMPUTER BEEP TONES) (TELEPHONE BEEP TONES) CUT TO: INT. MTAC - DAY GIBBS: (INTO PHONE) Yeah, Gibbs. CUT TO: INT. NCIS LAB - DAY ABBY: (INTO PHONE) Hey, I ran the blood drop from the circuit board through AFDIL and I got a match. It's a Petty Officer ... GIBBS: (V.O./FILTERED) Lynn Simons. CUT TO: INT. MTAC - DAY GIBBS: (INTO PHONE) We got it, Abs. Thanks. CUT TO: INT. NCIS LAB - DAY ABBY: I really hate it when he does that. CUT TO: INT. MTAC - DAY MCGEE: (INTO PHONE) She's heading for Bethesda. CUT TO: INT. CAR - DAY TONY: (INTO RADIO) She's picking up Commander Witten, Boss. (MUSIC OVER ACTION) TONY: (INTO RADIO) Strike that, he's going to follow her. (V.O.) Or she's going to follow him? KATE: Oh, guess again, sex machine. It's a girlfriend. (MUSIC OVER ACTION) CUT TO: INT. SIMONS' CAR - PARKED (REYNOLDS -SIMONS KISS) REYNOLDS: You got the money, babe? SIMONS: Oh, yeah. (UNZIPS CASE) REYNOLDS: Get out. SIMONS: What... are you doing? REYNOLDS: What I always do. Survive. SIMONS: But if it wasn't for me, you never would have gotten her back in the hospital. You never would have known where she hid the money. REYNOLDS: True. Now get out, bitch. TONY: (SHOUTS) Drop the wapon! REYNOLDS: They followed you! TONY: Drop it! (SFX: EMPTY gn CHAMBER CLICKS) SIMONS: (SHOUTS) It's not loaded! Please don't sh**t! Please! (MUSIC OVER ACTION/ STRUGGLE/ SHOUTING) REYNOLDS: You stupid bitch! Don't touch me! TONY: You're not my type, lady. Hey, get your hands on the wheel! Kate, cuff this whack-job! (SFX: REYNOLDS STRUGGLES B.G.) CUT TO: INT. SQUAD ROOM - DAY (SFX: EMAIL BEEP TONES) TONY: That's not me. KATE: Well of course it's not you. Too bad nobody else is going to know that. TONY: That's low, Kate. KATE: I've learned from the best, Tony. We both delete at the same time? TONY: On three. KATE: One, two, three. (SFX: EMAIL BEEP TONES) TONY: See you tomorrow, Boss! KATE: Have a good one, Gibbs! (KATE AND TONY RUN TO THE ELEVATOR) (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x19 - Conspiracy Theory"}	foreverdreaming
FADE IN: EXT. CLEARING - NIGHT DONNY: You have entered the circle. You have felt the flames. You have suffered the seven trials. You have reached the moment of your final test! Are you prepared?! GROUP: Yes, Sir! DONNY: Then let's do it. Go! (MUSIC OVER ACTION/GROUP RUNS INTO THE BUSHES) DONNY: Last one to the house drinks the keg dregs! I love hell week! Did you see their faces? CUT TO: INT. BUSHES - NIGHT (FREDERICK STUMBLES THROUGH THE BUSHES) (FREDERICK SCREAMS) (CUT TO BLACK) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. MCGEE'S LIVING ROOM - DAY "RED CELL" LEADER: (V.O.) Strike Force Command, this is Red Leader. Alpha Team is in play. MCGEE: (INTO PHONE) Roger that, Red Leader. Have visual. You've got hostiles on both the north and east quadrants of the building. All teams prepare for entry. Our target is located on the-- LEADER: (V.O.) Say again, Strike Force Command. Did not copy your last. MCGEE: (INTO PHONE) Uh... wait one, Red Leader. LEADER: (V.O./FILTERED) Copy that. Red Unit, hold your positions. (DOOR OPENS) TONY: Hi, Probie! MCGEE: (INTO PHONE) Uh... David, I have to call you back. (HANGS UP PHONE) TONY: Told you he was a boxer's guy. KATE: Gee, McGee. I thought for sure you were a tighty whitey man! TONY: Come on, let's get dressed. You don't want to keep Gibbs waiting. MCGEE: You said zero nine hundred. It's only seven thirty. KATE: Oh, we thought we'd observe you in your natural environment. TONY: Kind of like watching National Geographic. We watch as the McGee moves slowly from the watering hole trailed by hyenas. Is this the History Channel room? Ah, this is where you do your writing thing, huh? (SFX: TYPING) TONY: Look at this! (READS) "The Continuing Adventures of L.J. Tibbs..." MCGEE: It's personal. TONY: I wonder who L.J. Tibbs could be? KATE: Check it out. He eats dinosaur cereal! (SFX: TONY MAKES DINOSAUR NOISES) MCGEE: Okay, would you both please just wait by the door... by the door, please. TONY: Got any Macy Gray in here? MCGEE: Tony, don't touch those! Those are collectables! They're very valuable. TONY: Oh, gosh! Sorry! I just thought they were musty old records. MCGEE: It's bad enough having to work on Sundays without you guys ransacking my apartment. TONY: Yeah, it was very inconsiderate of that Marine Sergeant to die on a weekend. MCGEE: I'm getting my wapon! Don't touch anything else! KATE: Hey! TONY: George Cloony could not get laid in this place. KATE: Your place needs a lot of help, McGee. TONY: At least you're not building a boat in your basement. MCGEE: Come on.(DOOR CLOSES) SARAH: Tim? RED LEADER: (V.O./FILTERED) Strike Force Command, this is Red Leader. McGee, are you there? SARAH: (INTO PHONE) This is Strike Force Command. Do you copy? CUT TO: EXT. CLEARING - DAY DUCKY: Based on the rigor resolving itself, I'd say our Sergeant's been dad for at least thirty six hours. GIBBS: I'm more concerned with how it happened, Duck. DUCKY: Well, apart from the obvious, he took a tumble down the hill. Neck's probably broken. Yeah, but then we never do put too much emphasis on the obvious. Do we, Sergeant? GIBBS: Look out! DUCKY: It's remarkable how these college hangouts all smell the same. Stale beer, tobacco, vomit. GIBBS: It's from the kid that found him. DUCKY: Any idea why the young man is half-naked? GIBBS: Must be a college thing. Hey, where've you been? TONY: Stopped for coffee. Got here - you are welcome. GIBBS: Marine Sergeant Joseph Aaron Turner. Found dad at oh-two hundred by a drunk college student. TONY: Sounds like hell week. GIBBS: Hell week? TONY: Yeah, the fraternal right of passage. Worst week of my life. Followed by the best four years. GIBBS: Yeah, you were running around in your skivvies, DiNozzo? TONY: Technically. Well, back then they made us wear them on our heads. I think it was -- a sort of character building thing. KATE: It certainly explains a lot. GIBBS: Uh-huh. Hey McGee. MCGEE: Yeah. GIBBS: Find out what Turner was doing on campus. MCGEE: On it. BELLO: Excuse me, Special Agent Gibbs? I wonder if we could let Mister Pippin go home and dress more appropriately. GIBBS: Sure. After one of my agents interviews him. DiNozzo. TONY: Uh, you know, I think that's really more up Kate's alley. GIBBS: Well, maybe, but you two have so much in common. Go. (TO BELLO) This area popular with students? BELLO: For all sorts of extracurricular activities. Bonfires, fraternity pranks. KATE: Hazing? BELLO: We've had our share of incidents. Broken bones, alcohol poisoning. And this isn't the first accidental death we've seen. GIBBS: Who said anything about an accident? BELLO: You think this is a homicide? GIBBS: Until I find out it wasn't. MCGEE: Boss, I had Turner's SRB pulled. He's an NROTC student attached to the Waverly University campus. Lives in the dorms. GIBBS: Do you have an address? MCGEE: Uh... just getting on that. I'll radio his unit. CUT TO: INT. TURNER'S ROOM - DAY GIBBS: I thought college students were supposed to be poor? LEMAY: Most of my midshipmen wouldn't know how to survive without at least two hundred channels and a DSL hook-up, Agent Gibbs. GIBBS: How long have you been Turner's Marine Officer Instructor, Captain Lemay? LEMAY: Since he enrolled last year. You expect to lose men in combat, not on a college campus. What the hell happened to my Marine? GIBBS: I'm working on it, Captain. LEMAY: What can I do to help? GIBBS: You can start by telling us about him. LEMAY: He was one of my best Midshipmen. Came to us straight from fleet after two combat tours in Iraq and Afghanistan. GIBBS: How was he taking to college life? LEMAY: There was a fair amount of culture shock. But like any good Marine, he adapted. GIBBS: Any personal problems or issues? LEMAY: We had a few incidents with student activists on campus. GIBBS: Protesting the wr? LEMAY: Protesting anything military. Our unit was vandalized, rallies outside our offices. When word got out that Turner was a vet, he took some heat. GIBBS: What kind of heat? LEMAY: Name-calling, mostly. Turner handled it like most Marines. GIBBS: Not well. LEMAY: He lost five Marines in his squad in Iraq. He handled it as best he could, Agent Gibbs. He was a damn fine Marine. MCGEE: And intelligent too, Boss. These are graduate level mathematics. Theoretical calculus. LEMAY: He was on the advanced track in math and physics. He was a real asset to the Corps. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: You're blwing in my ear, Mister Palmer. JIMMY: Sorry, Doctor. DUCKY: Something piqued your interest? JIMMY: It seems this break is too clean to be the result of a fall. DUCKY: Correct. If he landed on his neck, this would be jagged here. But this? This is too precise. Do you notice anything else? JIMMY: Well, he took a beating. DUCKY: Yes, bruises around the eyes, knuckles grazed. But what captured my attention most were these. This coloration suggests they were recent. Inflicted on our poor Marine just before his death. JIMMY: Do we know what caused them? DUCKY: We do not yet. Yes, but it reminds me of an English Earl who was abducted and asphyxiated. Every bone in his body was broken. JIMMY: What happened to him? DUCKY: Well, it was on a moonlit night... GIBBS: Do we know what klled him yet? DUCKY: Sergeant Turner was involved in a nasty fight that resulted in a broken neck. GIBBS: He was mrder? DUCKY: Yeah. GIBBS: What about these welts? DUCKY: Certainly painful, but they didn't do any internal damage. Mostly surface. GIBBS: Are you thinking what I'm thinking, Duck? DUCKY: I'm afraid so, Jethro. GIBBS: Call me when you find out. (GIBBS WALKS O.S.) (SFX: DOORS SLIDE OPEN) JIMMY: Find out what, Doctor? DUCKY: Sergeant Turner may have been tortured before his death. JIMMY: Whoa! DUCKY: Yeah. JIMMY: So that's what happened to the English Earl. DUCKY: What English Earl? CUT TO: INT. LAB - NIGHT ABBY: You said Turner was smart, McGee, when in fact, you should have said he was brilliant. These equations rock! It's hm. MCGEE: Close. hm. ABBY: I think it's hm. MCGEE: No, it's hm. I did my independent study on advanced String Theory, so I think I would know. ABBY: I see you are playing the M-I-T card again. MCGEE: No, I just happened to go to school there. ABBY: And you just happened to talk about it a lot. GIBBS: Oh, so glad to see you two don't need adult supervision. ABBY: McGee was annoying me again. GIBBS: Don't. What do we have from the crime scene? ABBY: Oh, um... I got Turner's toxicology report back. His blood alcohol level was point oh seven. Not drunk. GIBBS: Not sober either. What else? ABBY: There were foreign blood samples found on his face and his knuckles. GIBBS: Yeah, and? ABBY: And a Chinese menu of chemicals found on his skin. He's dried paint, turpentine, bleach. It's like he was partying in a janitor's closet. GIBBS: What about Turner's laptop? MCGEE: Well, I completely underestimated the depth of his mathematics ability. I thought that he was concentrating on numerical analysis, but it turns out he was also working on fiber bundles. The work's a little rough. GIBBS: Anything connected to his death, McGee? MCGEE: Not yet. ABBY: Um... I didn't go to M-I-T, but I think I found something. Turner had a private container. It's like a vault inside the hard drive where you can hide files. Very sophisticated. GIBBS: Can you open it? ABBY: They don't call me "Five Fingers Sciuto" for nothing. Actually, nobody calls me that. My nickname is actually Vamperstein, but I never really liked the sound of it. GIBBS: Abby! ABBY: Right. Too much caffeine. Sorry. In just a second... and we... are... in. It's an encrypted e-mail. He received it on Friday.(SFX: KEYBOARDING B.G.) GIBBS: The same day he was klled. EMAIL ON SCREEN: Today is the day you die. (MUSIC OUT) MUSIC IN: EXT. STADIUM FIELD - DAY (SFX: MIDSHIPMEN EXERCISE B.G.) "One, Two, Three"... LEEKA: Maybe I should give you a break, you know, because you're college girls. What do you think, Simmons? SIMMONS: No, gn Sergeant? LEEKA: (SHOUTS) Damn straight! To me you're midshipmen! Barely! Understood?! SIMMONS AND TAYLOR: Yes, gn Sergeant! LEEKA: (SHOUTS) You pull a stunt like that again with me, and you can both kiss your scholarships goodbye! Go! Away! GIBBS: gn Sergeant Leeka? Special Agents Gibbs and Todd, NCIS. LEEKA: Sorry you had to hear all that. KATE: What did they do? LEEKA: Notice the hair, Ma'am? KATE: Not regulation? GIBBS: No. LEEKA: Purple and orange? KATE: Oh. LEEKA: Sometimes I feel like I'm a kindergarten teacher. GIBBS: Oh yeah, I'm familiar with the sentiment. LEEKA: So Captain Lemay said you wanted to talk to me about Sergeant Turner? GIBBS: What kind of Midshipman was he, gn? LEEKA: He put most of those kids to shame, Sir. He would have made one hell of a Marine officer. KATE: The Captain said that he had problems with wr protesters. LEEKA: You could say that, Ma'am. One of them spit on his uniform. Turner cleaned his clock. KATE: Well, do you think this protester was the type to look for revenge? LEEKA: Are you saying Turner was mrder? KATE: We are. GIBBS: I want to know why. LEEKA: Simmons! SIMMONS: (SHOUTS) Sir! LEEKA: Get me Midshipman Blake! Doubletime! SIMMONS: (SHOUTS) Yes, gn! LEEKA: Blake's a Petty Officer. He was tight with Turner. He was also the one that pulled him off the protester before the campus cops arrived. GIBBS: Who else was Turner tight with? LEEKA: Well, Blake will know. They're the only two enlisted men in the unit. SIMMONS: Excuse me, gn Sergeant! LEEKA: What, Simmons? SIMMONS: Midshipman Blake didn't report to formation this morning. LEEKA: Blake's never been U.A. Not since I started here. GIBBS: Are you telling me Petty Officer Blake is missing? LEMAY: No, I'm telling you that he is, Agent Gibbs. No one's seen Blake since Friday night. CUT TO: INT. CORRIDOR - DAY TONY: Oh, hi, ladies. Oh God, I miss college. Find the room yet, Probie? MCGEE: Right here. FRANKEL: Yeah, Blake's not there. TONY: You never told me you had a brother. MCGEE: Any idea when he's coming back? FRANKEL: I haven't seen him for a couple days. CUT TO: INT. DORM ROOM - DAY (DOOR OPENS) FRANKEL: You guys are definitely not campus cops. I make you for FBI. TONY: Wrong. NCIS. MCGEE: That stands for... FRANKEL: Yeah, I know what it stands for. You're here because of Turner, right? MCGEE: Did you know him? FRANKEL: I was in his NROTC unit. MCGEE: Oh, wow! These are the new docking stations for... FRANKEL: Yeah, yeah. He just got that. It's the new Axim X-Five hand held computer. It's sweet, right? MCGEE: Yeah. TONY: Sweet! FRANKEL: Shouldn't you guys be wearing rubber gloves? You're completely compromising the integrity of the crime scene. TONY: It's not a crime scene. It's a dorm room. FRANKEL: You totally think Finnegan had something to do with Turner's death. Why else would you be here? TONY: You got us, Sherlock! FRANKEL: Maybe they were partners in some kind of illicit business. Like they dealt drugs on campus. TONY: Well, now did they? FRANKEL: No, I was being hypothetical. Do you guys have a warrant? Because if you don't, then nothing you find here will be admissible in court. Unless, of course, you have probable cause. TONY: That is exactly what we have. FRANKEL: I don't know. Just because he wasn't home? TONY: Little girl, what's your name? FRANKEL: Simon Frankel. TONY: Okay listen, Urkel, we're here on official business, so why don't you go back to your dorm room and play Dungeon Master and let professionals do their work. FRANKEL: I'm just trying to help. TONY: Do you want to be a big help? FRANKEL: Yeah, definitely. TONY: Okay, put your hands in the air. There's nothing to be worried about. Spread your legs. Okay, stick out your tongue. You're the gargoyle. Now guard this door! (DOOR CLOSES) MCGEE: That was nice. TONY: But they don't pay us to be nice, McGee! Hey, put on some gloves! There is definitely something wrong with this guy. MCGEE: Why? TONY: He listens to folk music. MCGEE: Oh, there's something else wrong with this guy, too, Tony. TONY: A bloody rag. Nice work, McGee. MCGEE: That's a lot of blood loss. Injured? TONY: Or dad. CUT TO: INT. SQUAD ROOM - DAY TONY: Message on the left was on Turner's laptop. The message on the right was found on Blake's. He received it on Saturday, Boss. GIBBS: Who sent them? TONY: McGee's working on it. GIBBS: What else do we know? TONY: No one on campus has heard from Blake since Friday. KATE: And Abby says that the blood on the rag and bed matches Blake's type. GIBBS: Two enlisted men. One missing. One dad. What do they have in common? KATE: The resentment of The Coalition Alliance Team for Peace, Gibbs. TONY: CAT-Pee. Not a very attractive acronym. KATE: Their leader's a Waverly senior, Hunter Huxley. He's been arrested five times for disturbing the peace. He's majoring in political science. TONY: Minoring in anti-government subversion and sticking it to the man. I dated a girl like that in college once, Boss. Wasn't bad until she stopped shaving her armpits and her - she owns a car dealership now in case you're looking for a good deal. KATE: Huxley's been leading the anti-wr protests on campus. And last month at a peace demonstration in front of the ROTC building, we know that he started spitting on Midshipman. GIBBS: And Sergeant Turner dropped him. KATE: After that, Huxley made Turner his personal target. Harassed him regularly. TONY: You think he could have taken it to the next level? GIBBS: I think you and Kate are going to go find out. TONY: Hey, turn that frown upside down, sweetie! We're going back to college! KATE: Tony, your problem is you've never left. CUT TO: EXT. STUDENT UNION - DAY TONY: This is what I'm talking about. It's like I'm having flashbacks or something. KATE: I'm surprised you even remember college. You spent most of it throwing up in a urinal. TONY: Well, I'm pretty sure you spent your Saturday nights alone in your P.J.s watching Julia Roberts videos. KATE: Oh, you don't know what I did in college. TONY: Mmm, but I do know what you did on your spring break. KATE: I knew it! You still have that wet t-shirt photo, don't you!? TONY: I don't. KATE: You swear? TONY: Well, I don't have it on me. Hey, A-Chi! Way to go! KATE: God, you're pathetic. Gotta move on, DiNozzo. They're over. TONY: What's over? KATE: Your glory years. They've passed you by. It's time you retired the beer bong. TONY: Ouch, Kate. Ouch. KATE: Oh, there's our budding anarchist. (SFX: PROTESTERS B.G.) HUXLEY: Wake up, Corporate America! This is an immoral act! No more wr! No more wr! CHANTING: No more wr! (SHOUTS) No more wr! HUXLEY: Learn the truth about this wr! If your Government doesn't trust you, don't trust your Government! Hey man, help us defeat Big Brother. TONY: Well, we kind of work for him. Agents Todd and DiNozzo, NCIS. HUXLEY: I got a permit to be here. KATE: I'm sure you do. That's not the reason we're here, Mister Huxley. TONY: Sergeant Joseph Turner. HUXLEY: Oh, if he's pressing charges on me, then I'm pressing charges on him. That fascist nearly broke my jaw. TONY: I'd hold off on the charges. KATE: He's dad. HUXLEY: What?! TONY: His body was found on campus Saturday night. You hadn't heard about that? HUXLEY: Nah. I've uh - I've been out of town. I just got back today. TONY: Well, that's convenient. HUXLEY: Hold on a second. You think I did it? TONY: Well, you two didn't exactly get along. HUXLEY: Well, yeah because he tried to bat the crap out of me! KATE: After you spit on him! HUXLEY: You do realize I'm a peace activist, right? Anti-volence? TONY: Maybe you knew his friend, too. Petty Officer Finnegan Blake? KATE: He was a Midshipman. Been missing since Friday. HUXLEY: I get it! This is how it happens, huh? They send their Gestapo gons to try and quiet the movement. You planning on arresting me? KATE: It's crossed our minds. HUXLEY: Do it. I'm not afraid of you. I'm not afraid of your tactics. TONY: You should really meet our boss. He'd like you. HUXLEY: And you should really meet my lawyers. They'd love you! CUT TO: INT. ABBY'S LAB - NIGHT MCGEE: The student organizations alone are mind-blwing. Did you know that there are seven online mystery writer workshops on campus? GIBBS: No, I didn't. But I'm sure you're going to tell me what this has to do with our dad Marine. MCGEE: I thought that whoever was involved in Turner's death might have a campus web account. So I hacked into the servers looking for any mention of Turner or Blake. GIBBS: Any hits? MCGEE: No, the servers have been pretty quiet. (SFX: EMAIL BEEP TONES) GIBBS: What is that? MCGEE: Someone's IMing Sergeant Turner. ABBY: It's an instant message, Gibbs. MCGEE: It's like an email but live. GIBBS: Just put it up on the plasma. CREEPY VOICE: Hello, NCIS. ABBY: He's not on Turner's buddy list. He's probably using an alias. GIBBS: Can you trace it, McGee? MCGEE: If we can keep him online. GIBBS: Abby, talk to him. ABBY: Okay. Hello, Creepy Voice. CREEPY VOICE: You're looking in the wrong places. MCGEE: He's diverting his connection through half a dozen servers. We've got the Baltimore Public Library by way of a public server in Buffalo. GIBBS: That's it. Get him. Get him, McGee. ABBY: Where should we be looking? CREEPY VOICE: Deeper. ABBY: Oh, come on. How's that going to help us? MCGEE: I've back-traced him to the Waverly University campus. GIBBS: Where on campus? MCGEE: I'm almost there. CREEPY VOICE: Look beyond the surface. ABBY: Oh, that's a really sucky clue. When you say beyond the surface, are you being literal or metaphorical. I'm just trying to clarify! CREEPY VOICE: They're everywhere. MCGEE: Okay, I've got it down to one city block right off of campus. Just one more second. CREEPY VOICE: Goodbye. MCGEE: Got him, Boss. GIBBS: Yeah. CUT TO: EXT. HOUSE - NIGHT GIBBS: You are sure about this, right?(BEGIN TELEPHONE INTERCUTS) MCGEE: (V.O.) I was able to-- (SCENE CUT) MCGEE: ...Triangulate the connection to the campus servers. (SCENE CUT) MCGEE: (V.O.) And then reran the back trace... GIBBS: Just answer the question, McGee. (SCENE CUT) MCGEE: Yes, I'm sure, Boss. (SCENE CUT) GIBBS: Let's do this. Kate, cover the back. GIRL: (SHOUTS) No! No! Stop!(SFX: GIRL SCREAMS B.G.) CUT TO: INT. HOUSE LIVING ROOM - NIGHT (DOOR OPENS) GIBBS: Federal Agents! Don't move! (bat) I am going to kll McGee.(SFX: GIRLS SCREAM) TONY: We've got it covered, Kate. (FADE OUT) FADE IN: INT. LAB - DAY MCGEE: (V.O.) So is Gibbs still mad at me? TONY: About what, Probie? dad Marine on campus? Missing Petty Officer? Computer hacker who might be part of a radical peace movement? None of these things are your fault, really. But sending Gibbs on a panty raid? KATE: He's going to kll you. GIBBS: Hey! I want answers. Where is Abby? MCGEE: Ah, she's on a run to the evidence garage, Boss. TONY: She's on a run to the evidence garage, Boss. GIBBS: Anything on the hacker? MCGEE: Um... he was on a wireless connection. The house you ht was set up for WiFi. He was probably sitting somewhere outside on the street. I'm working on tracing it right now. GIBBS: You tell Abby I want her. ABBY: Oh Gibbs, I never knew! Ducky asked me to help him figure out where the welts came from. I think I'm gonna start with the ball peen hammer. I don't know why. I just like the way it sounds... ball peen, ball peen, ball peen, ball peen. GIBBS: What else? ABBY: Um... probably go with the stun gn and then the garden weasel. And someone's in a really bad mood. GIBBS: Spending the night in a room full of crying women tends to do that to me. ABBY: Well this will cheer you up. I got the analysis back from the blood found on Turner's body. It belongs to your missing Petty Officer. TONY: Blake? You're kidding? ABBY: I also ran the bloody rag from Blake's house. Most of it's his and some of it is not. KATE: Sergeant Turner's? ABBY: Bingo. TONY: Was his name-o. Blake and Turner were in a fight. KATE: One turns up dad and the other hits the road. GIBBS: Or they were klled together at the same location, Kate. (SFX: IM BEEP TONES) MCGEE: It's the hacker! He's sending us another instant message. CREEPY VOICE: N.C.I.S., if you want the truth, be at Unity Quad, ten hundred hours today. MCGEE: He's somewhere on campus right now. GIBBS: Tony, Kate, you're with me. And you get me an exact location this time! ABBY: Are you sure you can do it? MCGEE: Positive. I think. CUT TO: EXT. QUAD - DAY TONY: Excuse me. (INTO PHONE) How can we be sure Creepy Voice is even here, McGee? MCGEE: (V.O./FILTERED) Because Tony, the campus WiFi system is broken down...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (INTO PHONE) ...into nodes. And our hacker's signal is coming from Node Five. (SCENE CUT) TONY: (INTO PHONE) Yeah? And what does that mean? MCGEE: (V.O./FILTERED) It means he's somewhere... (SCENE CUT) MCGEE: (INTO PHONE) ...In the quad right now so look for somebody with a... (SCENE CUT) MCGEE: (V.O./FILTERED) ...Laptop or a wireless device. TONY: (INTO PHONE) You're not real helpful, Probie. GIBBS: (V.O./FILTERED) Less chatter. (INTO PHONE) Keep your eyes open. Find him or her. TONY: (INTO PHONE) Boss, your one o'clock. Red hat, sunglasses. Looking real suspicious. That's what I'm talking about. KATE: Don't you get enough of that at home? TONY: My Internet connection's down. KATE: Yeah. (INTO PHONE) Ten forty five. The hacker is... (SCENE CUT) KATE: (V.O./FILTERED) ...playing with us again. MCGEE: No, Kate. I'm telling you, he's here. (SCENE CUT) MCGEE: (V.O./FILTERED) Look for something abnormal. KATE: You're going to have to be more specific, McGee. KYLE: Look out! Move! Out of the way! STUDENT: Hey, watch it!(MUSIC OVER ACTION) KYLE: Move it! TONY: I'd say that's abnormal. CUT TO: INT. CORRIDOR - DAY TONY: (V.O./FILTERED) We've got two suspects, one in a black ski mask. GIBBS: Moving to intercept. TONY: They're coming out of the tunnel! Okay! Get down! Get out of the way! Hey! Move out of the way! Get out of the way! (MUSIC OVER ACTION/ TONY CHASES THE STUDENTS) (SFX: PAINTBALL BLAST) KYLE: You're dad! KATE: He's got a gn! TONY: NCIS! Federal agents! Drop the wapon! KATE: Put down your wapon! TONY: Drop the wapon! GIBBS: Hold your fre!! STUDENT: What's going on? GIBBS: Shut up, dumb ass. TONY: Does that hurt? STUDENT: Yeah. TONY: Does that hurt right there? STUDENT: Yeah. KATE: Kyle Zolin. He's a Midshipman.(PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) Gibbs! Gibbs, I figured it out. I know what caused the welts on Turner's body. GIBBS: (V.O./FILTERED) We know. (SCENE CUT) GIBBS: (INTO PHONE) The paint ball gn. (SCENE CUT) INT. LAB - DAY (END TELEPHONE INTERCUTS) ABBY: I really, really hate it when he does that. (SFX: PAINT BALL gn FIRES) ABBY: Oops. CUT TO: INT. NROTC WARD ROOM - DAY LEEKA: (SHOUTS) You retreads think you deserve to be officers? Do you!? Playing illegal games on campus!? You're lucky I don't rip your heads off and stomp on them! (DOOR OPENS) LEMAY: Agent Gibbs will take it from here, gn. LEEKA: Yes, Sir. LEMAY: I expect you gentlemen to answer his questions truthfully. GIBBS: Sit down. Where's Finnigan Blake?(SFX: LOUD HEARTBEAT B.G.) KYLE: We don't know, Sir. GIBBS: How many Midshipman in this little paintball club of yours? Uh, yeah. That's right. If you turn them in they'll probably be kicked out of school just like you. It's admirable, protecting your friends. Turner does not need protection. He's lying dad on a slap with a broken neck. I think Blake is the one who put him there. SMITH: No. No, not possible, Sir. They were best friends. GIBBS: Yeah? Then why were they beating the crap out of each other Friday night? (SHOUTS) You were there!! KYLE: Yes, Sir, but it's not what you think. SMITH: They tossed a couple punches, we broke it up. KYLE: An hour later, they were drinking beer and laughing about it. GIBBS: Does that look like a couple of punches to you, Midshipman? His neck is snapped in half. SMITH: He didn't look like that when he left... GIBBS: What was the fight about? KYLE: Turner never lost a paintball game, so Blake decided to change the rules. GIBBS: By klling him? KYLE: No, Sir. We played one on one. But Friday morning we all got Turner's target photo in our e-mail, and we ambushed him. SMITH: It was supposed to be funny... GIBBS: I want the names of everyone in your club. You do that and we can talk about your futures. SMITH: And if we don't? GIBBS: Son, you trust me. You will not do well in prison. CUT TO: INT. NCIS SQUAD ROOM - DAY KATE: (V.O.) They called themselves "The Red Cell." They all claim the last time they saw Blake was on Friday night, right after the fight. TONY: We think they were protecting him. GIBBS: Who else knew about the group? KATE: According to them, no one. Only the Red Cell members. TONY: First rule of Fight Club. Never talk about Fight Club. That's a great movie. Brad Pitt, Edward Norton. It's like the greatest guy movie ever. I'm going to rent that for you. KATE: They're either lying, or one of them is the hacker that led us to the group. GIBBS: Find him. MCGEE: Boss! GIBBS: You find my hacker yet? MCGEE: Uh, no? But... TONY: Poor Probie. KATE: You think he needs a group hug? TONY: Oh... MCGEE: I found Blake. MCGEE: (V.O.) I've been monitoring the campus WiFi... CUT TO: INT. LAB - DAY MCGEE: ...And I was waiting for the hacker to come back online and that's when I thought of it. When we searched Blake's room, he had the docking station for an Axim X Five handheld computer. But the unit itself was not in his room. ABBY: And they're like two thousand bucks. He probably took it with him when he pulled his disappearing act. GIBBS: Why does this matter? MCGEE: Because it has wireless built-in. It automatically connects to the nearest network. He is online right now. GIBBS: Where? MCGEE: Waverly University, node three. And according to the network logs, he's been hiding out there since Saturday morning. GIBBS: Not bad, McGee. Let's roll! ABBY: See? I told you he likes you. CUT TO: EXT. CAMPUS - DAY KATE: Are you sure about this, Tim? MCGEE: I'm sure. He's here, or at least his computer is. KATE: Well, I hope for your sake that you're right. MCGEE: I'm right, okay? (SFX: BEEP TONES) MCGEE: Wait. He's in the building right behind this one. CUT TO: EXT. EXCAVATION SITE - DAY TONY: I've got some bad news for you, Probie. MCGEE: I don't understand. He should be here. TONY: Maybe he disappeared with the building. MCGEE: I'm telling you, he's here.(MCGEE OPENS THE GATE AND WALKS TO THE CLEARING) MCGEE: Signal's getting stronger. It's here!(SFX: BEEP TONES CONTINUE) GIBBS: Where? MCGEE: It's right below me. He must have buried it. TONY: We're being screwed with again. KATE: It's the hacker, McGee. MCGEE: (SHOUTS) I found something! It's a body. It's lying face down. This is where the head should be. He's wearing a hood. GIBBS: This is now a crime scene. MCGEE: It's Blake. GIBBS: He's not lying face down. (FADE OUT) FADE IN: INT. AUTOPSY ROOM - DAY DUCKY: Petty Officer Blake was klled early Saturday morning, just hours after Sergeant Turner's death. Now, we're dealing with a kller who is not only extremely powerful, but methodical. Each of these young men had their necks broken in a violent and identical fashion, I think by someone using their bare hands. JIMMY: Well, how's that? DUCKY: Ah, well it's a very specific technique. May I demonstrate, Mister Palmer? JIMMY: Of course, Doctor. DUCKY: One hand is placed firmly on the jaw here, and the other hand ... GIBBS: Yeah, I'll do it, Duck. DUCKY: Oh. Thank you, Jethro. TONY: This ought to be good. GIBBS: No, on you. TONY: Do you think that's really necessary? GIBBS: GIBBS: Yeah, it'll be fun. You can either lie on the floor or I'll drop you to the floor. We used it to silence enemy sentries. (CONT.) One hand on the jaw, the other behind the head of the individual. Sixty-six pounds of torque and snap! Your eyes are on the back of your head. Dinozzo - any questions? TONY: No, I think I got it, Boss! You missed your calling, Boss. You could have been a chiropractor. GIBBS: We're looking for someone who knows how to kll. DUCKY: Yes, what troubles me is our Midshipmen, in order to receive such a klling blow, would have to have been face to face with their assailants. Which means either they were ambushed or... GIBBS: They knew him. TONY: Hey, another Midshipman? They teach combat courses at the NROTC unit. GIBBS: Maybe. You find my hacker yet? TONY: McGee's upstairs working on it. GIBBS: I didn't ask McGee. I asked my Senior Field Agent. I want that damn hacker! TONY: Did you hear that, Palmer? JIMMY: He sounded pretty upset. TONY: Yeah. He called me his Senior Field Agent. Finally! CUT TO: INT. ABBY'S LAB - DAY MCGEE: This guy's good, Abby. Too good. ABBY: Yeah, but we are better! I thought you went to M.I.T? MCGEE: Abby, I don't think I can track this guy. TONY: Don't let Gibbs hear you talking like that, Probie. ABBY: You guys are just in time for McGee's crisis of faith. He's starting to realize that there may be someone on the planet that's smarter than him. KATE: Oh, I'm looking at one right now. TONY: Well, Kate, in all fairness, I am the Senior Field Agent, but I think it's an experience -- KATE: I was talking about Abby, DoDo Head. ABBY: Thank you, Kate. MCGEE: Okay, the only chance we have of finding this guy is if he contacts us again. I can embed a virus in the IM software and use it to tag his computer and hope that it leads... TONY: (OVERLAP) Viruses, tracking software? You guys are going about this the wrong way. What is the first rule of Fight Club, Probie? MCGEE: Okay Tony, you can barely turn your computer on. So no offense... TONY: (SHOUTS) You do not talk (WHISPERS) about Fight Club! And what is the second rule of Fight Club? Abs? ABBY: (SHOUTS) Do not talk about Fight Club! (SFX: TONY CLEARS HIS THROAT) ABBY: Sir! TONY: Exactly! And Creepy Voice is the guy who led us to Red Cell. ABBY: So he's either a member or he knows a member. KATE: And they're all Midshipmen. TONY: Of course, if the guy's giving McGeek a run for his money, he's got to be pretty smart. McGee, what was your GPA in college? MCGEE: Three point nine. I failed a fencing class in hm* year. TONY: So I'm sure you already checked the NROTC records to make sure there's no... computer genius in the unit. CUT TO: INT. SQUAD ROOM - DAY KATE: (V.O.) I hate to say it but that was actually smart, Tony. GIBBS: What was, Kate? KATE: Tony might have figured out how to find the hacker. GIBBS: It's his job. You think I keep him around for his personality? MCGEE: There are twenty two Midshipmen in the unit with computer science majors. Only one of them has a four point oh. Look familiar? TONY: You want to bring him in with me? MCGEE: Considering he embarrassed me, almost got me fired and ruined my weekend? What do you think? (TONY AND MCGEE WALK O.S.) (SFX: IM BEEP TONES) CREEPY VOICE: Hello N.C.I.S. ABBY: You might be smart, but my geek carries a gn. Hello, you twisted piece of... SWISH PAN TO: INT. STUDENT UNION - DAY ON COMPUTER SCREEN: Red Cell is just the beginning. You have to ask why? Knock knock Who's there? I'm right behind you dirtbag. Turn around TONY: Howdy, Urkel. FRANKEL: Ow! You're hurting me! Ow! MCGEE: You hear something, Tony? TONY: No. MCGEE: Me either. TONY: No need to worry. Federal Agents. Have a nice day. CUT TO: INT. INTERROGATION ROOM - DAY (DOOR OPENS) FRANKEL: Hey, so what do they call it? The box? The coffin? The sweat shop? TONY: We just call it interrogation. FRANKEL: What's the deal? You lean on me first... CUT TO: INT. OBSERVATION ROOM - DAY FRANKEL: Then bring your partner in? Get me blabbering? Are you the good cop or the bad cop? TONY: Sit. CUT TO: INT. INTERROGATION ROOM - DAY TONY: Okay, I'm going to be honest with you. This is a major waste of time. You clearly didn't do this. FRANKEL: Reverse psychology. TONY: But my boss, he needs to close the case. FRANKEL: Brass wants answers. CUT TO: INT. OBSERVATION ROOM - DAY TONY: There is this other agent... Kate. Severe looking thing. No sense of humor. She built the profile on you. MCGEE: What kind of interrogation technique is that? GIBBS: The DiNozzo method. Not pretty, but it's effective. TONY: (V.O.) It turns out... CUT TO: INT. INTERROGATION ROOM - DAY TONY: ...you're the geek's geek. The last one to be picked for the team. FRANKEL: That's not true. TONY: This isn't me, Urkel, okay? I think you're great. Sure you broke a few ... CUT TO: INT. OBSERVATION ROOM - DAY TONY: ...Federal laws interfering with an ongoing mrder investigation. CUT TO: INT. INTERROGATION ROOM - DAY FRANKEL: I was trying to help you. TONY: Right. It's the way you did it that's suspicious. FRANKEL: Look at me. The last thing I need is to be pegged as a rat in the unit. Those guys would have klled me. TONY: Maybe you were looking for payback? They wouldn't let you into their little club? FRANKEL: That's crazy. TONY: You know what's crazy? Me almost putting a bllet in a kid's head 'cause he's playing paintball. That's a little crazy. FRANKEL: I didn't... I didn't want anyone to get hurt. I was just trying to help. Turner was a friend. TONY: So you thought sending cryptic emails was going to help us find his kller? FRANKEL: I think I know who klled him. TONY: Who? FRANKEL: Petty Officer Blake. TONY: Yeah? Why'd he do it? FRANKEL: There's this girl in the unit. Ashley Simmons. She used to date Blake but they broke up. TONY: She started dating Turner? FRANKEL: I'm not sure. I know he liked her. TONY: He liked her? Not a real strong motive for mrder, Urkel. FRANKEL: Well, last week I saw all three of them together in the quad. Ashley was crying. Turner and Blake started arguing with each other. TONY: About what? FRANKEL: I... I couldn't hear, but I saw Blake push him. TONY: So they fought? FRANKEL: No. Turner just left with Ashley. When I asked him about it later, he said it was personal, something between the three of them. TONY: Well that's a real interesting theory, Matlock. One problem. FRANKEL: What? TONY: Blake's dad. He was mrder a few hours after Turner. FRANKEL: But by who? TONY: Someone who wanted to frame him for the mrder of his best friend. (DOOR CLOSES) CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: Find Midshipman Ashley Simmons now. CUT TO: INT. WARD ROOM - DAY LEEKA: Why is your hair still purple, Simmons? SIMMONS: It takes a few days to wash out, gn. LEEKA: I hope the time you've spent field-daying is starting to sink in. I own you until the day you graduate. SIMMONS: Yes, gn. It won't happen again. LEEKA: Do you want to give people orders someday? You need to learn how to follow them. GIBBS: Sounds like pretty good advice, gn. LEEKA: Good evening, Sir. Any luck finding Blake? GIBBS: That's why we're here. LEEKA: We can talk about this in my office. You missed a spot over there, Simmons. KATE: Actually, we're here for her, gn. LEEKA: Simmons? For what? GIBBS: We found Blake. LEEKA: Where? GIBBS: He's dad. TONY: We think she knows why. SIMMONS: I don't know anything about it. KATE: Then you won't mind answering a few questions. GIBBS: Take her out to the sedan. I'll be right out. SIMMONS: But I don't know anything! (SIMMONS WALKS O.S.) GIBBS: Tell me everything you know about her, gn. LEEKA: Simmons? (DOOR CLOSES) LEEKA: Kind of a screw up, but not a bad kid. Do you think she's involved in this? SIMMONS: (V.O.) I don't understand. CUT TO: EXT. BUILDING - DAY SIMMONS: Blake didn't kll Turner. KATE: No, they were both mrder. TONY: Not pretty. Almost twisted his head clean off. SIMMONS: Oh my god, he did it. LEEKA: (V.O.) I'm getting too old for this crap. CUT TO: INT. WARD ROOM - DAY LEEKA: ROTC was supposed to be an easy tour. You want a cup? GIBBS: Uh, no. No, thanks. I'll pass. LEEKA: Mm, good call. So just how was Blake mrder? CUT TO: EXT. ROTC BUILDING - DAY SIMMONS: I went to them for help last week. He wouldn't leave me alone. CUT TO: INT. WARDROOM - DAY LEEKA: Wow. Two identical neck-breaks. GIBBS: Yeah. We think the kller has military training. CUT TO: EXT. BUILDING - DAY SIMMONS: He was forcing me to sleep with him! Blake and Turner were going to go talk to him, make him stop. And he klled them! KATE: Who, Midshipman? CUT TO: INT. WARD ROOM - DAY LEEKA: I'll have everyone in this unit standing by tomorrow. You can question them all at the same time. GIBBS: Thanks, gn. I appreciate it. Just one thing. LEEKA: What, Sir? GIBBS: I said that Blake had been found dad. You said mrder. (SFX: LEEKA LOCKS THE DOOR) (SFX: PHONE RINGS) LEEKA: Are you gonna answer that? GIBBS: No. No, I'm pretty sure I know what it is they want to tell me. Put your hands up. (SFX: LEEKA FIGHTS GIBBS) (SFX: GLASS BREAKS) LEEKA: Not bad, Agent Gibbs. GIBBS: I'd give up now. It's only going to get worse.(SFX: FIGHTING CONTINUES) CUT TO: INT. NROTC HALLWAY - DAY (SFX: FIGHTING B.G.) TONY: I think he knows. KATE: You think? CUT TO: INT. WARDROOM - DAY (SFX: LEEKA FIGHTS GIBBS B.G.) (SFX: TONY POUNDS ON THE DOOR B.G.) LEEKA: You should have stayed out of this, old man. CUT TO: INT. CORRIDOR - DAY TONY: Okay, stand back. (SFX: g*n) CUT TO: INT. WARD ROOM - DAY (DOOR OPENS) GIBBS: Cuff him. TONY: Sure thing, Boss. KATE: Somehow I don't remember college being quite like this. TONY: It reminds me of this time at Ohio State. We had this frat guy... GIBBS: The next person who mentions a Spring Break, or a frat party, or college, is fired! Are we clear!? KATE: Yes. TONY: Yes. GIBBS: Good.(MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x20 - Red Cell"}	foreverdreaming
FADE IN: EXT. PUBLIC STORAGE FACILITY - DAY STEVE: Anything else I can do? EMMY: No. I just want to get this over with. STEVE: All right. (SFX: DOOR SLIDES OPEN) EMMY: Heaven forbid he should label anything and make this easy. STEVE: What are you gonna do with his truck? EMMY: I don't know. Sell it, I guess. STEVE: How much you want for it? EMMY: I don't know, okay? Listen, I just want to find a picture of his mother so he can be buried with it. STEVE: Not a problem. Any idea what year it is? EMMY: No. Listen, I don't mean to be rude, but I just feel like being alone. STEVE: Wonder what he's got in here. (STEVE UNWRAPS THE PLASTIC) STEVE: Holy smoke! (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES / CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "HOMETOWN HERO" (SFX: DOORS SLIDE OPEN) KATE: We're leaving in five minutes. Where have you been? TONY: I got the call. I'm here. KATE: Get up on the wrong side of the bed, did we? TONY: My car got towed. I had to take the bus to work this morning. KATE: Where was it parked? TONY: That's not important, Kate. KATE: Didn't make it home last night, did you? TONY: (INTO PHONE) Hi, this is Anthony DiNozzo. I'm trying to locate my car. It was towed from the thirty-four hundred block of Dumbarton in Georgetown. You've already put me on hold three times. You klled my cell phone battery. Do not put me on hold again! Do not -- ! KATE: Dumbarton - near campus. I really hope she was over twenty-one. TONY: You'd love to know, wouldn't you? Going somewhere this weekend? KATE: Love to know, wouldn't you? MCGEE: Truck's gassed up. Ducky already left. (TO TONY) You made it. TONY: Don't start, Probie. KATE: Tony's car was towed. Poor baby had to take the bus to work. TONY: You know what kind of people take the bus? MCGEE: Yeah, I take the bus. TONY: Exactly. ABBY: Hey, I heard you're going to Norfolk. KATE: Shouldn't be a problem. We should still be able to leave by six. TONY: Leave? For where? You two are spending the weekend together. (PURRS) Hold on. Let me paint a picture. KATE: You're a pig. TONY: Probie, any idea where they're going? MCGEE: Sorry, I cannot divulge that information, Tony. GIBBS: Health spa. ABBY: Gibbs! GIBBS: He'll spend all day trying to figure it out. I do not need him distracted. TONY: I appreciate that, Boss. GIBBS: What'd you find out about the Petty Officer? KATE: He rented a storage locker ten months ago just before he was shipped off to Iraq. MCGEE: Died in Falluja last week. His body is at the Theatre Mortuary Evacuation Point in Kuwait. GIBBS: McGee, you stay here. Contact NCIS in Iraq. Find out everything you can about Petty Officer Dobbs. MCGEE: On it. GIBBS: DiNozzo. Same clothes you wore here yesterday? TONY: I buy a lot of the same things. It makes mornings less stressful. (INTO PHONE) Yeah, I'm here! GIBBS: Now you're gone.(SFX: DIAL TONE ) CUT TO: EXT. PUBLIC STORAGE FACILITY - DAY (SFX: POLICE SIREN B.G.) TONY: What kind of people use your facility Mister Hager? STEVE: Most of the renters are Navy personnel. When they ship out, they pay in advance. Your guy paid a year. Got two months left. (PHONE RINGS) TONY: (V.O.) DiNozzo. Yeah. CUT TO: INT. STORAGE ROOM - DAY GIBBS: Talk to me, Duck. DUCKY: Well, it's definitely female, Jethro. The male pelvis is shaped like a butterfly. The female's is wider and has larger superior and inferior apertures to facilitate child birth. GIBBS: Age? DUCKY: Oh, I'd estimate seventeen to twenty. The pubic symphysis is an excellent yardstick of age... JIMMY: Doctor...? DUCKY: It's corrugated in a woman's teens, and then smoothes out during her twenties and thirties. At the time of this young lady's demise, you can see it was in the transitional stage. What is so urgent, Mister Palmer? JIMMY: It's just that he ... he...uh... DUCKY: He? Who? JIMMY: Special Agent Gibbs. DUCKY: What about him? JIMMY: He left, Doctor. DUCKY: Yes, I know he left. He left some time ago. Have you only just realized that? JIMMY: No. DUCKY: Then why mention him now? JIMMY: It's just that I ...you...you... CUT TO: EXT. LOCKER - DAY GIBBS: Tell me about it. TONY: Is it that obvious? I'm sorry, boss. It's just upsetting. My car wasn't towed. It was stolen. GIBBS: Tell me about the storage locker, DiNozzo. TONY: Right. Uh... every renter has a code to enter the main gate. Locker number plus the last four digits of their Social Security number. Manager's checking the computer to see if anyone accessed Petty Officer Dobb's locker. Sorry. CUT TO: INT. LOCKER CORRIDOR - DAY EMMY: Justin and I were friends since freshman year in high school. KATE: Boyfriend? EMMY: No. Just friends. KATE: But you have the key to his locker. EMMY: Yeah, he mailed it to me with a will and power-of-attorney. KATE: That's a lot to saddle a friend with. EMMY: Yeah, tell me about it. Something I can do without. KATE: Why you? EMMY: He didn't have anybody else. DUCKY: Give me the bag, Mister Palmer. Tag this for me. KATE: It's stressful, I'm sure. Do you have any idea who's in that truck? EMMY: No. KATE: We're going to find out, Emmy. It'd be real good if you told us anything you know. EMMY: There was a girl. Nora Webb. We were all friends in high school. She disappeared our senior year. The police always suspected that Justin knew what happened to her. DUCKY: (V.O.) All right. Let's wrap her up, Mister Palmer. CUT TO: INT. SQUAD ROOM - DAY GIBBS: Contact NCIS Iraq? MCGEE: They were well aware of Petty Officer Dobbs. GIBBS: He got in trouble. MCGEE: Just the opposite, Boss. His C.O. wrote him up for a posthumous Silver Star. Actually, the C.O. wants to talk to you. He's standing by to go on satellite right now. GIBBS: Kate, talk to LEOs in Dobbs' hometown. Verify what the girl told us. Do not tell them what we found. KATE: Got it. GIBBS: DiNozzo, talk to the insurance agent on your own time. Get down to the garage. Start an inventory on Petty Officer Dobbs' stuff. TONY: Gibbs is a boat man. He doesn't understand I have to have my car. MCGEE: They're giving you a rental. DiNozzo, what's the big deal? TONY: It's not the same, busboy. My car is part of my being. KATE: It's a car, Tony. TONY: It's a classic, Kate. It's a Ninety Z.R. One Corvette. It's powerful, it's fast, it's gorgeous. KATE: In other words, it's you. TONY: Exactly. CUT TO: INT. MTAC ROOM - DAY KING: (ON MONITOR) Under heavy fre, Petty Officer Dobbs single-handedly dragged two Marines to safety. He saved their lives at the cost of his own. That's why I recommended him and forwarded it up the chain of command. Now I understand you're a former Marine, Agent Gibbs. GIBBS: I am. KING: (ON MONITOR) Then you know we don't take this lightly. This was an extraordinary young man. Now this is Lance Corporal Jaime Ramos. He served with Petty Officer Dobbs. RAMOS: (ON MONITOR) Sir, Petty Officer Dobbs wasn't a Marine, but he was one of us. He served in our platoon the whole tour as our Corpsman. What they're saying about Doc can't be true, Sir. He died saving lives over here. KING: (ON MONITOR) Whatever you can do, we'd appreciate it, Agent Gibbs. GIBBS: Understood, Lieutenant. RAMOS: (ON MONITOR) The thing is, Sir, Doc isn't around to defend himself now. You have to, Sir. CUT TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN) GIBBS: Duck, is it her? DUCKY: She is indeed Nora Webb, Jethro. I have a positive I.D. using dental records from the FBI's Missing Person's Database. GIBBS: How long's she been dad? DUCKY: How long's she been missing? GIBBS: Almost two years. Petty Officer Dobbs rented the locker ten months ago. DUCKY: Well, I venture that she met her fate around the time of her disappearance. Plus I can't be certain until I know where the young lady's remains were kept. JIMMY: The deterioration will be effected by whether she was indoors, void of the elements, or buried outside in the... ground. GIBBS: Cause of death? DUCKY: Uh... that will be hard to determine. GIBBS: Duck, I need to know. CUT TO: INT. NCIS GARAGE - DAY COURIER: Sign this for me, over here. Oh, wow.(ABBY SIGNS) ABBY: It only looks like a skull and crossbones. TONY: Home movies. Little League, ninety seven. Christmas, ninety five. Hoo-ya. ABBY: And the winner is? TONY: High school, senior year. Danke schon. So what exactly do you girls do at a health spa? ABBY: Get pampered. TONY: Massages? ABBY: Many kinds. TONY: Full body? ABBY: Places you can only dream of, DiNozzo. TONY: Masseuse or masseur? ABBY: I go both ways. You?(SFX: PHONE RINGS) TONY: Only with - Harris, my insurance agent. ABBY: Whatever works, man. CUT TO: INT. SQUAD ROOM - DAY KATE: I spoke with a LEO in Richfield, Virginia. Officer Billy Krieg confirms that Justin Dobbs was a person of interest in the disappearance of Nora Webb. GIBBS: What else? KATE: Not much. Dobbs enlisted out of high school. He was raised by a single mother who died of cancer while he was in boot camp. Got in the Advanced Medical Training Program. Made P.O. Three. TONY: Boss, Lieutenant Commander Coleman wants to talk to you. GIBBS: Tell her I'm not here. COLEMAN: Why don't you tell me yourself? GIBBS: Commander Coleman. COLEMAN: Special Agent Gibbs. (GIBBS AND COLEMAN STARE AT EACH OTHER) KATE: Tony. TONY: Kate. GIBBS: McGee.(KATE/ MCGEE AND TONY WALK O.S.) COLEMAN: SECNAV wants JAG involved in the investigation of Petty Officer Dobbs. GIBBS: Why? COLEMAN: He's on the fast track for a Silver Star. The Navy doesn't want to be embarrassed by awarding it to a mrder. Did he do it? GIBBS: I'll let you know when the investigation concludes. COLEMAN: Petty Officer Dobbs' remains are arriving at the military mortuary in Dover on Sunday. His unit is pushing for a funeral with full honors. You've got twenty-four hours. GIBBS: That's not enough time. COLEMAN: SECNAV can't wait. You've got twenty-four hours. (COLEMAN WALKS O.S.) GIBBS: Cancel all weekend plans. (MUSIC OUT) FADE IN: INT. SQUAD ROOM - DAY TONY: That guy is Justin Dobbs. The girl in pink is Emmy Poole with our victim Nora Webb. If the time stamp's accurate on this tape, this would have been sht two days before she was reported missing. MCGEE: Well, from this video, it doesn't look like anything's wrong. TONY: Sure brings back memories, Probie. Oh, I don't suppose you had a car to wash in high school. MCGEE: Actually, I did, Tony. My parents bought one for me the day I turned sixteen. TONY: Let me guess.... Yugo? MCGEE: No, it was much cooler than that. TONY: I'm sorry. What was I thinking? I forgot who I'm dealing with here. Uh... Duster? MCGEE: Nope. TONY: Gremlin? MCGEE: You're not going to guess it, Tony. TONY: One of the Ford trilogy of dork mobiles? Maverick? Fiesta? Pinto? If you say Datsun Honeybee, I'm going to come over there and smack you. MCGEE: Eighty four Camaro Z-twenty-eight, five speed. TONY: That's a smokin' hot car, McGee. What the hell went wrong with you? MCGEE: Well, the first day I got behind the wheel, I had a slight... thing. TONY: Head on? MCGEE: I was trying to figure out the wipers. I took my eyes off the road for a second. When I looked up, there it was right in front of me. TONY: Car! MCGEE: Bus. (SFX: TONY GASPS) MCGEE: I got a student pass the day I got out of traction. (TONY HUGS MCGEE) TONY: I didn't know. DISSOLVE TO: INT. POLICE STATION - DAY WHALEN: Are you sure it's Nora Webb? GIBBS: We're sure. WHALEN: Knew the sonovabitch did it. KATE: Justin Dobbs was the prime suspect? WHALEN: Nora Webb was last seen leaving a party with him. KRIEG: Kids saw her drive off in the truck. The next day her parents reported her missing. WHALEN: When we brought him in, he had scratches on his face and arms. GIBBS: I'm sure he had an explanation, of course. WHALEN: Don't they always. Said she got abusive before he dropped her home. KRIEG: People at the party thought they saw him coming onto her. KATE: They ever have anything between them before? KRIEG: No, but he had been drinking. KATE: So you think he pressed it with her in the car. When she didn't go along, things got out of hand. WHALEN: Figured he'd bury her in the woods. When we couldn't find the body, the D.A. chose not to go forward. After graduation, Justin Dobbs slinked out of town in a Navy uniform. GIBBS: Petty Officer Dobbs died in that uniform saving lives, Chief. WHALEN: I appreciate that, Agent Gibbs. Doesn't excuse taking one before he left. GIBBS: I'd like a copy of that case file. WHALEN: Not a problem. Pull it, Billy. Then show our friends where the copy machine is. CUT TO: EXT. NURSERY - DAY KATE: Chief Whalen doesn't have a doubt about Petty Officer Dobbs' guilt. GIBBS: Nope. KATE: So what do you think? GIBBS: If I was him, I wouldn't either. Mister and Mrs. Webb, Special Agents Gibbs and Todd. NCIS. KATHY WEBB: We know. WHALEN: Mister and Mrs. Webb, you all take care. Been pushing for a faster copier. Hope it didn't cause too much inconvenience. BRUCE WEBB: When do we get our daughter back? GIBBS: Our investigation is almost over. BRUCE WEBB: Chief Whalen concluded the investigation a long time ago. GIBBS: If Justin mrder your daughter, our investigation will only confirm it. BRUCE WEBB: We don't need a confirmation! (KATHY CRIES) KATHY WEBB: Do you know how... how she died? GIBBS: Not yet. BRUCE WEBB: Is that all? KATE: We just have a few questions. BRUCE WEBB: No, I'm not going to do it. KATE: I know this is difficult. BRUCE WEBB: You don't know anything, lady. KATE: Mister Webb... GIBBS: Kate. (TO WEBB) Appreciate your time. Thank you. CUT TO: INT. LAB - DAY ABBY: What's up, Palmer? JIMMY: I brought you a substance for analysis. ABBY: Where'd you get it? JIMMY: The victim's femur bone. ABBY: Just put it over there. JIMMY: Hey, sorry to hear about your weekend. ABBY: Oh, hm... Tony? JIMMY: Yeah, mass email. The sender was anonymous, but it was pretty obvious. ABBY: Lots of lascivious references. JIMMY: You know, the inefficient flow of ki is a major source of stiffness. Silent auction item at my niece's school benefit. A weekend seminar in the Art of Shiatsu. ABBY: Do me. JIMMY: Uh... I showed up late. ABBY: Your hands. My body. Now! Ah! Ah! TONY: What the hell are you doing, Palmer? JIMMY: Ah... ah... ah... TONY: You read the Agency police on sexual harassment, didn't you, Palmer? JIMMY: It wasn't like that! (MUSIC CLICKS OFF) TONY: It never is. Now go, you little autopsy gremlin! Get out of here. What have you got, Abs? ABBY: He's doing it again, McGee. MCGEE: Um-hmm. TONY: Doing what? MCGEE: You become Gibbs when he's not around. TONY: I do not. MCGEE: Actually, you do. ABBY: The Caff-Pow! The head-slaps. Turning my music off. "What've you got, Abs?" MCGEE: He has been in a foul mood all day. ABBY: That's another Gibbs' trait. (LONG bat) You don't quite have the stare down yet. TONY: Hey! What are you giggling about? Inventory the contents now, Probie! MCGEE: Dobb's sea bag. Sent from Iraq. Has all his personal effects. ABBY: Do you know anything about ki, McGee? CUT TO: INT. BIKE SHOP - DAY EMMY: It was Nora. GIBBS: It was. How long have you known about Justin's storage locker, Emmy? EMMY: A week. When I read the will. Thanks. GIBBS: You didn't read it until he died? EMMY: Anything wrong with that? KATE: Who else knew about the will? EMMY: No idea. He wrote it up online. I didn't recognize the names of the witnesses. Guys from his unit, I guess. GIBBS: We'll need a copy. EMMY: Okay. KATE: So you and Petty Officer Dobbs... EMMY: We were tight in high school. Listen, it was his idea to go off to the stupid wr, okay? I didn't need this. KATE: And you and Nora Webb? EMMY: Friends. It was high school, okay? Customer's waiting. Are we through? GIBBS: For now. There are a lot of pissed off people here in Richfield.(EMMY WALKS AWAY) CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Here's something interesting, Mister Palmer. The hyoid bone. Do you know what makes it unique? JIMMY: No, Doctor. DUCKY: (SINGS) Dem bones, dem bones, dem dry bones... the shoulder bone connected to the neck. The neck bone connected to the head bone. The hyoid bone, Mister Palmer. To what is it connected? JIMMY: Uh... nothing. DUCKY: Correct. Of the two hundred and six bones in the human body, the hyoid is the only one not articulated to any other. JIMMY: Cool. DUCKY: Its name derives from the Greek. Ah, U-O-I-Ds. Shaped like a "U." JIMMY: Upsilon. DUCKY: Yeah, I hope you learned that in medical school and not at some fraternity ritual. You see, this one is distorted. JIMMY: It looks like it's been crushed. DUCKY: And that would suggest? JIMMY: Strangulation. DUCKY: Yes! CUT TO: INT. SQUAD ROOM - DAY KATE: Who's the cop? MCGEE: No idea. GIBBS: What do you have, McGee? MCGEE: The records show that no one accessed the storage facility with Petty Officer Dobbs' code after he deployed. GIBBS: Personal effects? MCGEE: Nothing out of the ordinary. Only thing of interest was a padlock key identical to the one Emmy Poole had. (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. (HANGS UP PHONE) (GIBBS WALKS TO THE ELEVATOR) GIBBS: DiNozzo! TONY: Boss, you're not going to believe this. My car was used in a convenience store robbery in Tennessee. But I'm... I'm cool. So not important in the grand scheme of things. CUT TO: INT. MTAC ROOM - DAY COLEMAN: (ON MONITOR) You've had twenty-four hours. GIBBS: Not enough time. COLEMAN: (ON MONITOR) Petty Officer Dobbs' body left Kuwait an hour ago. What do I tell the SECNAV? GIBBS: Nothing conclusive at this point. COLEMAN: (ON MONITOR) You are forcing me to have the medal withheld. GIBBS: You might be denying a hero his due. COLEMAN: (ON MONITOR) Give me something, Gibbs. Is there anything working in his favor? GIBBS: You're breaking up, Faith. COLEMAN: I can see you just fine. GIBBS: Must be a solar flare. COLEMAN: Gibbs-- (MONITOR CLICKS OFF) CUT TO: INT. NCIS HEADQUARTERS - DAY (DOOR OPENS) DUCKY: Such a mysterious room. GIBBS: You got something, Duck? DUCKY: Yeah. Cause of death, strangulation. Things not going too well? GIBBS: Running out of time. DUCKY: Do you ever think that the Petty Officer might be guilty? GIBBS: It crossed my mind. DUCKY: And more than once, obviously. Otherwise you'd be telling me your gut says he's not guilty. GIBBS: Some Marine's guts in Iraq says that. DUCKY: But not yours? GIBBS: Yeah. Yeah, my gut says it, too. DUCKY: Your gut... or Semper Fi? CUT TO: INT. SQUAD ROOM - DAY GIBBS: Emmy Poole is holding back. I want her in interrogation now. CUT TO: INT. EMMY'S BEDROOM - NIGHT (PHONE RINGS) (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) WHALEN: (V.O./FILTERED) Yes? KATE: (INTO PHONE) This is NCIS Special Agent Todd. (SCENE CUT) KATE: (V.O./FILTERED) I'd like to speak with Emmy Poole. WHALEN: (INTO PHONE) That's not going to happen, Agent Todd. (CAMERA ANGLE ON BATHROOM) (CUT TO BLACK) MUSIC IN: EXT. EMMY POOLE'S HOUSE - NIGHT (SFX: TRUCK SIREN) KRIEG: Nice truck. GIBBS: If we hadn't called the house, would you have notified us? WHALEN: Eventually. GIBBS: I'd sure like my people to take a look. WHALEN: It was a su1c1de. What do you expect to find? GIBBS: Emmy Poole was material to my investigation. WHALEN: The investigation into a mrder that took place two years ago. Here. When Justin Dobbs was a civilian. That was a local matter. Just like this is. GIBBS: Understood. WHALEN: You have to take a look around... fine. We just removed the body. Crime scene's intact. CUT TO: INT. EMMY'S BEDROOM GIBBS: Who found her? WHALEN: The mother. GIBBS: I'd like to speak with her. WHALEN: You're welcome to read her statement. She's with friends. Didn't want to stay in the house tonight. GIBBS: Leave a note? WHALEN: Not that we found. Mother said she'd been depressed. On medication for the past couple years. GIBBS: Since the disappearance of Nora Webb. WHALEN: Where are you going with this, Gibbs? According to the mother, Emmy was close to Nora. Took her disappearance hard. Don't think finding the body helped. GIBBS: Yeah, we spoke to Emmy this afternoon. The thing is, I kept getting the feeling she wasn't telling us everything she knew. WHALEN: All there is to know is... Justin Dobbs klled Nora Webb. GIBBS: So you keep saying. CUT TO: EXT. PARK - DAY (MUSIC OVER ACTION/COLEMAN JOGS) COLEMAN: Is this your idea of an apology? GIBBS: For what? I just don't like to drink alone. COLEMAN: The fact that you know where to find me on a Sunday morning is a little scary, Gibbs. Please. GIBBS: Not as scary as your trunk. COLEMAN: What do you want? GIBBS: Talked to the office of the SECNAV yet? COLEMAN: No. GIBBS: The girl who found the remains in Petty Officer Dobbs' truck is dad. su1c1de, maybe. COLEMAN: You think she was involved? GIBBS: I don't know. She could have had an accomplice. I need more time. COLEMAN: Petty Officer Dobbs' funeral is tomorrow. GIBBS: Not if I order his remains quarantined at Dover Morgue. COLEMAN: What are you up to? GIBBS: I need our M.E. to examine the body as part of our investigation. COLEMAN: Dobbs died as a result of enemy fre in Iraq. What bearing does that have on a girl who was klled two years ago in Richfield, Virginia? GIBBS: You can never be too thorough. COLEMAN: You're pushing it, Gibbs. Why are you sticking your neck out for this guy? GIBBS: Several Marines witnessed Petty Officer Dobbs saving lives. No one witnessed him taking one. MUSICAL BRIDGE TO: EXT. NURSERY - DAY KATE: Mrs. Webb. TONY: Special Agent DiNozzo. KATE: We don't know if you've about Emmy Poole. KATHY WEBB: Her poor mother. KATE: Well, we're sorry to bother you. Just a few questions. Your daughter and Emmy were close. KATHY WEBB: They were very close. Emmy practically lived at our house. She was always sleeping over. TONY: Did they ever have a falling out? KATHY WEBB: Oh, god. No. I felt sorry for Emmy. She was caught in the middle between her two best friends. KATE: Nora and Justin. KATHY WEBB: Nora had disappeared and everyone believed Justin was responsible. She couldn't handle it. And then finding Nora... it must have sent her over the edge. The past two years have been hell for us. That's why we've sold the business and - there's just too many bad memories in this town. BRUCE WEBB: Hey, what are you doing here? Chief Whalen said we don't have to deal with you. KATHY WEBB: They're just trying to do their job. BRUCE WEBB: They want Justin Dobbs buried as a wr hero. That's what they want. He klled our daughter. As far as I'm concerned, he's responsible for Emmy's death as well. Leave now. CUT TO: EXT. NURSERY PARKING LOT - DAY KATE: Why don't you get one of these? It fits your personality perfectly. Loud, overbearing, politically incorrect. TONY: It's tempting, Kate, but I love the car I had. KATE: Had? Too bad you're not as faithful to the women in your life. TONY: Ha! That's funny. KATE: But for your sake I do hope that you and she reunite. TONY: Actually, I don't know if I want it back. KATE: And why is that? TONY: She's been violated. (SFX: SIREN) TONY: You here to escort us to the city limits, Officer? KRIEG: The Chief wants you to leave the Webbs alone. They've been through a lot. KATE: Well, we realize that, Officer. We're just trying to resolve Petty Officer Dobbs' guilt or innocence. KRIEG: Now why can't you just accept the facts? They're right there in front of you. TONY: Actually, the only thing in front of us right now is you. If you move, we'll leave. Maybe. CUT TO: INT. LAB - DAY MCGEE: I think it's the power supply. ABBY: You think? MCGEE: It would be helpful if I had a service manual. ABBY: (LONG bat) I was at church, Gibbs. GIBBS: What do you got, Abs? ABBY: First of all, you owe me big time. It took Kate and me six months to get the reservations to that spa. GIBBS: If you tell me you found something, I'll think about making it up to you. ABBY: Typical man. Promise you everything until he gets what he wants. Right, McGee? MCGEE: Well actually, I... ABBY: Thanks, McGee. So I found dirt on her femur bone and identical traces on the inside of the plastic she was wrapped in. But not on the outside! GIBBS: Nora Webb was buried in the ground. Then removed. ABBY: And then wrapped in plastic and then put in that truck. GIBBS: Chief Whalen always thought she was buried in the woods. ABBY: Maybe yes, maybe no. GIBBS: You got anything more specific than dirt? ABBY: Well, I was trying, except my mass spectrometer crashed. And there's a certain MIT grad that's supposed to be fixing it but he's actually making it worse. GIBBS: Sooner than later, McGee.(GIBBS WALKS O.S.) MCGEE: Why don't you just hire a service tech? ABBY: Well, I would, McGee. But it's Sunday. CUT TO: INT. ELEVATOR - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) DUCKY: Oh, there you are. GIBBS: Appreciate you coming. DUCKY: It's a godsend, actually. Mother has the ladies of the Kennel Club over for cocktails. GIBBS: Take a ride, Duck. DUCKY: Oh, I had a conversation with the M.E. at Richfield. He came to the same conclusion. su1c1de, indeed. The lacerations on the young girl's wrists gave every indication of being self-inflicted. But that's not why you asked me in here. GIBBS: They're holding Petty Officer Dobbs' body for you at the Dover morgue. DUCKY: I don't get it. I thought he died in combat. GIBBS: I need you to take a look, Ducky. DUCKY: What do you expect me to find? GIBBS: Nothing. I just need to buy more time. DUCKY: Oh, Jethro... I can spend forever finding nothing. CUT TO: INT. SQUAD ROOM - DAY MCGEE: (INTO PHONE) Great, thank you. (TO GIBBS) Boss, I tracked down the two witnesses who signed Petty Officer Dobbs' will. Both were Corpsmen he met in training. One's stationed at GITMO, the other Coronado. Neither knew anything relevant. ABBY: Gibbs, Gibbs, Gibbs! Are we still on? Weekend at the spa if I come up with something really big? This is a piece of the plastic sheet that the victim's body was wrapped in. GIBBS: Did you lift a print? ABBY: Negatory. GIBBS: Trace evidence? ABBY: No. But this is a really big but. From analysis of the polymers and the resins, I tracked down the manufacturer. They've reworked their formula. It's polyethylene, four mils thick. It's more flexible and resistant to tearing. GIBBS: What's the point, Abby? ABBY: This is a brand new product, Gibbs. It's only been on the market for four months. MCGEE: Petty Officer Dobbs has been in Iraq for ten months. He couldn't have put it there. ABBY: So can I make those reservations now? What's the matter, Gibbs? GIBBS: That does not mean that Petty Officer Dobbs is innocent. It only means he could have had an accomplice. MCGEE: Emmy Poole. (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. I'll be right there. CUT TO: INT. MTAC ROOM - DAY GIBBS: You're not calling with good news. COLEMAN: (ON MONITOR) I'm sorry, Gibbs. SECNAV made his decision. He won't sign off on the Star. (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - DAY ABBY: Do you think he's going to want us to hang around? MCGEE: Uh... I can't imagine there's anything that can't wait 'till tomorrow. ABBY: Go ask him. MCGEE: You ask him. ABBY: You're the Special Agent. MCGEE: He likes you more. ABBY: That's because I don't ask him stupid questions. (bat) Rock, paper, scissors? MCGEE: On three. GIBBS: Something on your mind? MCGEE/ABBY: (IN UNISON) No. GIBBS: You weren't thinking about leaving, were you? ABBY: Oh, no. MCGEE: (OVERLAP) Absolutely not. ABBY: I was just going to go um... check on the old spectrometer. (ABBY WALKS O.S.) GIBBS: Assuming Petty Officer Dobbs is innocent, why did Nora Webb's remains show up in his storage locker? MCGEE: Someone was framing him? GIBBS: Emmy Poole knew about the locker and she had a key. MCGEE: She would have had to have gone there before the bones were discovered. GIBBS: But after Petty Officer Dobbs died, so he couldn't defend himself. MCGEE: There's one problem, though, boss. The computer shows that Dobbs' entry gate access code was used only once. The time she was with the manager. She could have used somebody else's code! There's a surveillance camera at the entry gate, boss. GIBBS: I know, McGee. MCGEE: That is why I am going to Little Creek. TONY: Avoid the two ninety five. It's packed. GIBBS: DiNozzo, go with McGee. He's going to pick up the surveillance tape. TONY: Boss, I just - you're driving. (TONY AND MCGEE WALK TO THE ELEVATOR) TONY: Do you realize Mother Teresa would have road rage hell out there? MCGEE: I know it's a long sht. TONY: A long sht is you getting laid by Penelope Cruz, McGee. This is way beyond that. MCGEE: Tony, I'm sorry. But my instincts tell me-- TONY: You have not been around long enough to have instincts, Probie! MCGEE: Well, I still don't think Petty Officer Dobbs is a mrder. TONY: Why? Because he was a hero in Iraq? MCGEE: Yeah.(SFX: DOORS SLIDE OPEN) TONY: They Came to Cordura. MCGEE: What? TONY: It's a film. MCGEE: Of course. TONY: Gary Cooper. MCGEE: Who? TONY: One of the greatest actors of all time. Coop. High Noon. They Came to Cordura was one of his last pictures. Stay with me here. It's nineteen sixteen. The wr against Pancho Villa. Coop plays an Army Major escorting Rita Hayworth - ooh, what a body - and four Medal of Honor winners back to Texas for this ceremony. And along the way, he tries to determine what made them heroes. (SFX: DOORS SLIDE OPEN) TONY: In the end, he exposes them for what they really are... corrupt, pathetic, hypocritical, cowardly degenerates. MCGEE: DiNozzo, it's a movie. TONY: It's a film. And you're taking the stairs, McGee. MCGEE: Why? TONY: Because I am not riding in an elevator with anyone who doesn't know who Gary Cooper was. (SFX: DOORS SLIDE CLOSED) CUT TO: INT. LAB - DAY GIBBS: Abby, can you tell if anyone picked -- ABBY: Dobbs' padlock? GIBBS: Yes. ABBY: No. GIBBS: Abs, I don't have time. ABBY: I'm trying to tell you I just checked it out. I knew you were going to ask. It's scary, Gibbs. I'm starting to think like you. The lock is almost a virgin. It's hardly been opened and it shows no sign of wear. If had been picked, there'd be scratches on the tumbler. GIBBS: It was opened with a key. ABBY: I would swear to it. GIBBS: That's good work, Abs. ABBY: I knew you were going to say that, too. He's the manufacturer's service tech. He gets triple time on weekends and it's going to be a while. GIBBS: Stay on him. ABBY: So what's the verdict? TECH: I'm done. ABBY: Really? That was quick. TECH: It's a simple short. It's nothing you don't pick up in an intro ITT class. ABBY: Huh. I guess they don't offer that at M.I.T. CUT TO: INT. SQUAD ROOM - DAY GIBBS: Any luck with Emmy's psychiatrist? KATE: It's Sunday, Gibbs. GIBBS: I know. As everyone keeps reminding me. COLEMAN: Well, it wasn't much of a challenge finding you. I actually do like to drink alone, but I figured you could use a pick-me-up. You're not surprised I found you here? GIBBS: No. No, why should I be? The investigation's not over. COLEMAN: It's a lost cause. GIBBS: You here to gloat? COLEMAN: Actually, I happen to believe in miracles. GIBBS: Oh, really. COLEMAN: Never had one happen in front of me. So I figure if one did, I'd like to be standing by so I could call the Pentagon. GIBBS: Miracles take hard work, Commander. COLEMAN: Any particular desk I should use? GIBBS: Special Agent DiNozzo will be gone for a while. COLEMAN: Agent Todd? GIBBS: Richfield case file. ABBY: Do you realize at this exact moment we would be in the throes of deep-tissue exhilaration. KATE: Don't remind me. COLEMAN: You guys had spa plans? ABBY: Yeah. COLEMAN: Last month a girlfriend and I went to the new one in Charleston. KATE: Serenity Retreat? KATE/ABBY: Ahhh.... GIBBS: Are you here for a reason, Abby? ABBY: I want to talk dirt. MCGEE: Boss! ABBY: Um... I don't know if you missed my lips moving, McGee, but actually I was speaking. According to my newly repaired mass spectrometer... TONY: Sorry, Abs, but this is big. Well, it could be big. At least we think it is. But if it is big, it would be real big! GIBBS: McGee, talk! Make sense. MCGEE: We reviewed the entry gates security tapes from Little Creek Public Storage. From the day Petty Officer Dobbs died to the day Nora Webb's remains were found. No sign of Emmy Poole entering. TONY: But I think I recognize someone else. MCGEE: It's grainy, but we're hoping that Abby is capable of enhancing it. CUT TO: INT. LAB - DAY MCGEE: This video was taken three days after Petty Officer Dobbs died in Fallujah. This guy opened up a locker the same day, under the name John Weston. TONY: Freeze it right there! GIBBS: Any chance we make the driver, Abs? ABBY: Not a chance, Gibbs. A certainty. (SFX: COMPUTER BEEP TONES) GIBBS: Webb. COLEMAN: Were there any other surveillance cameras on the premises? MCGEE: No. Once he was in, he could have gone to any locker. KATE: He would have to have known which locker was Dobbs'. ABBY: And he would have had to have had a key because the lock was not picked. GIBBS: Emmy Poole. Kate, McGee, start back-grounding Bruce Webb. DiNozzo, you're with me! ABBY: Gibbs! Gibbs! My dirt! GIBBS: What about it? ABBY: Unless someone has been fertilizing the forest, Nora Webb was not buried in the woods. The soil found on her femur contained chemicals consistent with plant food. CUT TO: EXT. NURSERY - DAY (CAR BRAKES TO A STOP) (BEGIN TELEPHONE INTERCUTS) (PHONE RINGS) (SCENE CUT) GIBBS: (V.O./FILTERED) Yeah, Gibbs. KATE: (INTO PHONE) Bruce Webb was Nora's stepfather. MCGEE: Her biological father... (SCENE CUT) MCGEE: (V.O./FILTERED) ... Walked out when she was three. Nora took his name... (SCENE CUT) MCGEE: (INTO PHONE) ...When he officially adopted her at the age of six. KATE: Nothing else yet... (SCENE CUT) KATE: (V.O./FILTERED) .... But we're working it, Gibbs. (SCENE CUT) COLEMAN: He just cut you off?(END TELEPHONE INTERCUTS) KATE: He does that to everyone. CUT TO: EXT. NURSERY - DAY TONY: Wow. Stepfather. Did you see that movie? Guy marries a woman with a gorgeous daughter. BRUCE WEBB: I thought I made it clear we have nothing to say to NCIS. GIBBS: Tony. TONY: I know. Security video can be so darn unflattering. KATHY WEBB: What's going on? GIBBS: By tomorrow we'll have your fingerprints from the storage locker rental agreement. We'll have a search authorization, take soil samples from the nursery and match them against trace evidence from Nora Webb's remains. KATHY WEBB: I don't understand. GIBBS: You dug up and you moved the body because you were afraid that the new owners of the nursery would uncover it. KATHY WEBB: Bruce? CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: (V.O.) Emmy Poole was an impressionable teenager, raised by a single mom. CUT TO: INT. INTERROGATION ROOM - DAY GIBBS: .... Looking for a father figure. BRUCE WEBB: It wasn't like that. GIBBS: What was it like, Mister Webb? BRUCE WEBB: Emmy was always around with ...with Nora. CUT TO: INT. OBSERVATION ROOM - DAY BRUCE WEBB: I enjoyed being with them. It was fun taking them places. As they got older, Emmy was ... CUT TO: INT. INTERROGATION ROOM - DAY BRUCE WEBB: ... advanced. Sexually precocious. It all happened so gradual. And then one day things got out of hand. I wanted to stop it but... GIBBS: What happened that night? BRUCE WEBB: It was late. CUT TO: INT. OBSERVATION ROOM - DAY BRUCE WEBB: My wife was sleep. Emmy called and warned me that Nora had found out about us. CUT TO: INT. INTERROGATION ROOM - DAY BRUCE WEBB: She was hysterical. She and Emmy had gotten into a fight at the party. Justin Dobbs... CUT TO: INT. OBSERVATION ROOM - DAY BRUCE WEBB: ... didn't know what the fight was about. He offered to drive Nora home. I couldn't let Nora tell her mother. CUT TO: INT. INTERROGATION ROOM - DAY BRUCE WEBB: I met her out front and I tried to calm her. She started screaming. I just... I put my hand over her mouth. She wouldn't stop. (BRUCE WEBB CRIES) BRUCE WEBB: I didn't mean to kll her! CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: Do you want to take it from here, Chief? CUT TO: INT. CORRIDOR - DAY COLEMAN: So I'm thinking about going to Petty Officer Dobbs' funeral tomorrow. I've never witnessed the awarding of a Silver Star. Would you like to join me? GIBBS: I worked all weekend. I guess I could come in a little late on Monday. CUT TO: INT. SQUAD ROOM - DAY KATE: They found Tony's car. MCGEE: It's on the I-Forty in Oklahoma. REPORTER: (V.O.) Chopper John is live on the scene. TONY: Pull it over! You'll never get away! ABBY: Kind of drives like Gibbs. (SFX: CAR TIRES SCREECHING) REPORTER: (V.O.) Holy cow!(SFX: REPORTER SHOUTS B.G.) ABBY: Oh! GIBBS: That's harsh. REPORTER: Oh, my! Is that the driver? COPTER PILOT: Yes, it is, Gray. I can't believe it. He seems to be moving. He somehow survived! REPORTER: (V.O.) The same cannot be said for the car, John. It's been completely demolished. ABBY: Oh! GIBBS: Fiberglass. Not good for boats either. KATE: Oh! GIBBS: Have a good weekend. ABBY: Tony! KATE: Tony, that sucks. (FREEZE FRAME ON TONY) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x21 - Hometown Hero"}	foreverdreaming
FADE IN: INT. SQUAD ROOM - DAY TONY: Wow. What'd you do? Spend the night sake-bmb? KATE: It's a cold, Tony. Sake-bmb? TONY: Oh, come on, Kate. Don't tell me you've never heard of sake-bmb? KATE: Would I ask if - forget it. I don't want to know. TONY: You take a cup of hot sake. You drop it in a beer. You toss it back and - and KA-BOOM! KATE: Sake-bmb. TONY: Great for a cold. KATE: I'll stick to honey and hot tea, thanks. TONY: McGee, Kate's never been sake-bmb. MCGEE: You know, I don't think I have either. TONY: I work with a pair of wnkr. GIBBS: And you make three, DiNozzo. TONY: Good morning, Boss! KATE: Good morning. GIBBS: Cold or flu? KATE: Just plain cold. Don't worry. I will sneeze into my tissues, unlike some people. TONY: I have allergies, Kate. GIBBS: Never had allergies. Never had a cold. KATE: You never had a cold? GIBBS: Nope. Never had the flu either. KATE: Why do I believe that? TONY: If you were a bug, would you attck Gibbs? MCGEE: I get colds all the time. TONY: Of course you do, Probie. MCGEE: This one is just addressed to "NCIS Special Agent." TONY: I think that's mine, McGee. Huh? MCGEE: How do you know? TONY: I recognize the lips. And the scent. KATE: Gummy Bears?(TONY OPENS THE ENVELOPE AND BLOWS) (FADE OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES / CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "SWAK" (SFX: GIBBS WHISTLES) GIBBS: We've opened a letter with white powder. Use the southeast corridor to the holding room. You all know the drill. KATE: Tony! (INTO PHONE) Letter opened in Special Agent Gibbs's office dispersed a fine white powder. Initiating bio-attck procedures. Third floor is evacuating. GIBBS: McGee, are you up on procedures? MCGEE: Yeah, we shower, burn our clothes, get our blood tested. Nobody leaves the building until the substance is identified except... TONY: Lucky me! I win a free trip to Bethesda to be pricked like a pin cushion. KATE: They've shut down the air. Let's ht the showers, Tony! TONY: Thought you'd never ask. Sorry, Boss. CUT TO: INT. SHOWERS - DAY SOUND OF WATER OVER DIALOGUE TONY: Who would send me a letter with anthrx? KATE: Pick a girl, Tony. Any girl. TONY: It's not funny, Kate. KATE: Yeah, I know. TONY: This is serious. KATE: I know, Tony. I'm sorry. TONY: This very instant somebody is incinerating my Ermenegildo Zegna suit, my Armani tie, my Dolce Gabbana shirt, and my Gucci shoes! MCGEE: You know, it might not be anthrx. TONY: I like the sound of that, Probie. MCGEE: It could be small pox, bubonic plague, cholera... TONY: Probie! MCGEE: Foot powder, face powder, talcum powder. TONY: Honey Dust! MCGEE: Honey Dust? TONY: Honey Dust. I give it to girls - women, sorry, Kate. I give it to women at Christmastime. Very sensuous. You apply it with a feather. KATE: You don't use the whole chicken? MCGEE: I never heard of Honey Dust. KATE: Yeah, that's because your mother raised you to respect women, McGee. GIBBS: It makes a women's skin feel silky smooth. When kissed, it tastes like honey. (V.O.) Got a box of Honey Dust last Christmas. No card. TONY: Ah, I think the post office screwed up, Boss. Someone else got your bottle of Jack and you got the-- KATE: Hey! Doesn't the post office irradiate our mail? MCGEE: Yeah, that's right. All Federal mail is funneled through the Ion Beam facility in Bridgeport, New Jersey. If it has DNA, it dies. TONY: The diseases that you named, they have DNA? MCGEE: They do. KATE: Ah, you should have let him squirm. TONY: Ha ha! Then it's no worries. GIBBS: Unless the post office screwed up again.(SHOWER OUT) CUT TO: INT. SQUAD ROOM - DAY (MUSIC OVER ACTION/MEN IN SUITS/ CLEAN AND VACUUM) (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) CUT TO: INT. AUTOPSY ROOM - DAY GIBBS: You should have given the letter to me, McGee. MCGEE: I know, Boss. KATE: It's not McGee's fault. Tony snatched it out of his hand. TONY: So now it's my bad? MCGEE: You did grab it, Tony. TONY: Lame excuse, Probie. You should have stopped me. DUCKY: Where do you think you're going? GIBBS: To find out who sent the letter. DUCKY: Ah ah ah ah ah. You cannot leave autopsy. It's negative pressure so airborne pathogens can't contaminate the rest of the building. GIBBS: Ducky, I have been scrubbed, sanitized, for all I know, sterilized! I have an investigation to open! DUCKY: I have a possible contagion to contain. Until your blood test clears you, I cannot permit you to leave this room. (SFX: DOORS SLIDE OPEN) PARAMEDIC: Who opened the envelope? TONY: He did. MCGEE: No no no! It wasn't me! TONY: Just kidding. I'm your pin cushion. PARAMEDIC: Did you inhale any powder? TONY: I might have. DUCKY: We took blood. Jimmy? JIMMY: Yeah. Four blood vials on ice to go. (KATE SNEEZES) KATE: It's a cold. I had it before I came in this morning. DUCKY: Which makes you even more susceptible to airborne pathogens. You should go in the hospital, too. KATE: Oh, no! GIBBS: Kate, play it safe. Go with Tony. KATE: That's safe? How long are we going to have to stay in isolation? PARAMEDIC: At least overnight. TONY: Can we have double beds because I hate it when you get that crease when you push the two-- (GIBBS WHACKS TONY) TONY: If I get anthrx, how will you feel? GIBBS: Not as bad as you, DiNozzo. PARAMEDIC: Let's go. KATE: I'm warning you, DiNozzo. TONY: Yeah? KATE: I do not feel well. TONY: You need to relax. You need a foot massage. KATE: I don't want you anywhere near my feet. I don't want you touching my feet. TONY: You don't feel well and-- (SFX: DOORS SLIDE OPEN/ CLOSED) CUT TO: INT. LAB - DAY (MUSIC PLAYS B.G.) (MUSIC OVER ACTION/ ABBY SAMPLES THE ENVELOPE AND PERFORMS TESTS) ABBY: So how long to Atlanta? LIEUTENANT: Less than an hour. Your music's sweet. ABBY: So are you. Hoo! Talk to Mama. GIBBS: (ON MONITOR) I didn't take you for the cheerleader type, Abby. ABBY: Oh, I'm not. Grammy taught me that.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (ON MONITOR) She was an Olympic swimmer. Won the Silver in the two hundred meter butterfly. (SCENE CUT) JIMMY: What does swimming have to do... (SCENE CUT) JIMMY: (ON MONITOR) ...with cartwheeling? ABBY: Nothing. (SCENE CUT) JIMMY: I don't understand. MCGEE: You can't think logically with Abby. Her mind operates like a pachinko machine. GIBBS: What was the powder, Abby? (SCENE CUT) ABBY: White. (SCENE CUT) ABBY: (ON MONITOR) With a hint of tan. GIBBS: Abs! ABBY: (ON MONITOR) Well, it's all I know until my baby speaks to me. I'm auto-sampling for anthrx, botulism... (SCENE CUT) ABBY: .... Plague, cholera, all those nasty little bio-buggers. (SCENE CUT) GIBBS: How long? ABBY: (ON MONITOR) A couple hours. GIBBS: I thought you said these tests were fast. ABBY: (ON MONITOR) It's not a pregnancy test, Gibbs. (END TELEPHONE INTERCUTS) CUT TO: INT. ISOLATION HALLWAY - DAY TONY: You should drink more water. KATE: Tony. TONY: Your urine's too dark. KATE: I have a cold. I can't believe you're commenting on my - eeugh! DOCTOR PITT: Neither can I. Doctor Brad Pitt. Yes, it's my real name and no we're not related. I wish we were. I'd love to meet Angelina Jolie. (KATE LAUGHS) TONY: If I said what he said you would... elbow me. (TONY/ KATE AND PITT WALK TO THE ISOLATION CUBE) DOCTOR PITT: Well, it's not The Four Seasons, but let's hope you're not here long. (SFX: WHOOSH) KATE: Negative pressure? DOCTOR PITT: Mm-hmm. Air can flow in, but not out. I'd like you to meet Lieutenant Emma Ingham, your duty nurse for tonight. EMMA: Hi, guys. How are you? DOCTOR PITT: As a precaution, I'm starting your prophylaxis with streptomycin. KATE: Prophylaxis is a measure taken for the prevention of disease, Tony. TONY: That's why I use them. (SFX: EMMA LAUGHS) KATE: Oh, you don't want to encourage him, Lieutenant. EMMA: Sorry. Um... take any beds you want, you guys. TONY: Thank you, Nurse Emma. DOCTOR PITT: But it's prudent to keep some separation in case one of you has been infected. KATE: Thank you, Doctor! DOCTOR PITT: Brad. We're informal here. KATE: Kate. TONY: Are these things sunlamps, Brad? DOCTOR PITT: U.V. Kills the bacteria in the air, although I can arrange for a sunlamp if you wish. TONY: Oh, not for me. It's for Kate. KATE: What? TONY: Yeah, a little nude sunbathing might get rid of those tan lines. KATE: Doctor, could you put him to sleep, please? TONY: 'Bye Nurse Emma. EMMA: Bye. (SFX: DOORS SLIDE OPEN) GIBBS: (V.O.) Swak? CUT TO: INT. AUTOPSY ROOM - DAY ABBY: It's sealed with a kiss, Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (ON MONITOR) Didn't you ever get a love letter? GIBBS: Does a Dear John count? (SCENE CUT) ABBY: Ah. I feel sorry for you, Gibbs. (SCENE CUT) GIBBS: Is there a return address? (SCENE CUT) ABBY: Twenty seven Old Mill Bottom Road... (SCENE CUT) ABBY: (ON MONITOR) Annapolis, Maryland. GIBBS: McGee, you got that? MCGEE: Got it. I just wish I had my PDA. GIBBS: Use Ducky's. JIMMY: Uh... uh... Agent Gibbs, Sir, Doctor Mallard doesn't have... GIBBS: Requisition replacement cell phones and wapon for my team. Go! JIMMY: pstol? GIBBS: Well no, Palmer. Crossbows if you think they might work better. (TO ABBY) Cancelled stamp? ABBY: (ON MONITOR) Noon yesterday, Annapolis. (SCENE CUT) GIBBS: (ON MONITOR) Open it! ABBY: Normally I'd request a please, but... (SCENE CUT) ABBY: (ON MONITOR) ...Considering the situation. MCGEE: Boss, I can't find Ducky's PDA. GIBBS: McGee, it's a pad and a pencil!(END TELEPHONE INTERCUTS) CUT TO: INT. INNER LAB - DAY DUCKY: Oh, beautiful calligraphy. ABBY: Beautiful paper. It must be thirty two pound cotton rag. GIBBS: (ON MONITOR) Abby, does that mean you can trace it? ABBY: The water mark will tell me where it was made... (SCENE CUT) ABBY: (ON MONITOR) ... When it was made, and who sold it. The person that sent this... may as well have signed it. (SCENE CUT) DUCKY: You know, there was a time when every young woman of breeding was taught calligraphy. (SCENE CUT) DUCKY: (ON MONITOR) My mother still tries, but her hand shakes so that... (SCENE CUT) DUCKY: ...Even I can't read all her missives. (SCENE CUT) GIBBS: Can you read this missive, Ducky? (SCENE CUT) DUCKY: Oh, yes. It's perfectly legible. ABBY: Um... I think he means read it out loud. DUCKY: Oh, sorry. Of course. Uh...(READS) "If you are reading this and have not initiated biological attck procedures, I suggest you do so immediately." (SCENE CUT) DUCKY: (ON MONITOR) "Since the powder dispersed by opening this envelope contains genetically altered..." (SCENE CUT) DUCKY: "...Y. pestis. (SCENE CUT) GIBBS: Which is Latin for what? (SCENE CUT) DUCKY: Plague! (MUSIC UP AND OUT) FADE IN: INT. AUTOPSY ROOM - DAY GIBBS: The powder in that envelope carries bubonic plague? (SCENE CUT) DUCKY: Pneumonic is more likely. GIBBS: (ON MONITOR) There's more than one? DUCKY: Oh, there are three, actually. But pneumonic is by far the most dangerous since it can be spread simply by breathing the Y. pestis particles. (SCENE CUT) GIBBS: Tony must have breathed in some of them. (SCENE CUT) ABBY: It may not be alive. Y. pestis needs a host or moisture for it to survive more than a few hours. (SCENE CUT) MCGEE: Plus it was irradiated when it went through the mail, Boss. GIBBS: I got a Honey Dust for Christmas, McGee. ABBY: (ON MONITOR) I'll narrow my test to pneumonic Y. pestis. (SCENE CUT) ABBY: If I can isolate the strain, then Bethesda can ht it with a specific antibiotic. (SCENE CUT) DUCKY: Yeah, well that may not help. It says here, "I have genetically altered the Y. pestis to render it impervious to antimicrobials. ABBY: That bitch! She created a strain that... (SCENE CUT) ABBY: (ON MONITOR)... Antibiotics can't whack. GIBBS: Ducky, give Bethesda a heads up. DUCKY: (ON MONITOR) Right. GIBBS: A swak does not mean that this bitch couldn't be a bastard! (SCENE CUT) ABBY: You're so right, Gibbs. I have this friend who's a trnsvstite. Her lips could outswak Angelina Jolie's. Remember, McGee? You met her at my birthday party. (SCENE CUT) MCGEE: Yeah, the low-cut red dress with a built-in plastic-- (GIBBS WHACKS MCGEE) (SCENE CUT) ABBY: I saw that, Gibbs. GIBBS: (ON MONITOR) Read, or you'll feel it. ABBY: Not while you're down there. GIBBS: (ON MONITOR) What?! ABBY: However, there is an antidote. She made a magic bllet. (SCENE CUT) ABBY: (ON MONITOR) "Which if administered within thirty two hours of infection, will eradicate the disease." (SCENE CUT) ABBY: "To procure the antidote, NCIS must make public the true results reported in... (SCENE CUT) ABBY: (READS ON MONITOR) ... "Dossier R-Zero Three Seven Seven. GIBBS: McGee, pull up the file. MCGEE: Yep, Romeo Zero Three Seven Seven. On it, Boss. GIBBS: Is that it? (SCENE CUT) ABBY: That's all she wrote. (SCENE CUT) ABBY: (ON MONITOR) It's guilded inside. (SCENE CUT) ABBY: I can see the swak through - uh-oh. We have a moisture strip in here. (SCENE CUT) GIBBS: Yeah, keeping the bug alive until the letter is opened. ABBY: (ON MONITOR) I'm afraid so, Gibbs. GIBBS: Check the cancelled stamp, Abs! (SCENE CUT) GIBBS: (ON MONITOR) One way to get around postal irradiation - to not use the post office. (SFX: DOORS SLIDE OPEN) DUCKY: I spoke with a Doctor Brad Pitt. ABBY: You're kidding. DUCKY: No, that's his name. He made a point to stress that he is not related in any way to the actor. ABBY: Hey, did you hear when Brad and Jen split up? GIBBS: (ON MONITOR) Abby! ABBY: Gibbs, I can't until I can put this under a microscope. And I can't do that until NCID gives me approval to irradiate. (SCENE CUT) GIBBS: Okay, which will be when? ABBY: (ON MONITOR) The Navy is sending a sample to Atlanta. (SCENE CUT) ABBY: It should be there... well, now. (SCENE CUT) ABBY: (ON MONITOR) And then it'll be twelve hours for DNA confirmation. GIBBS: Ducky, what's the incubation period? DUCKY: (ON MONITOR) A day at most. GIBBS: How long until it kills? DUCKY: (ON MONITOR) Well, not very long, I'm afraid. In the fourteenth century, the novelist Boccaccio wrote... (SCENE CUT) DUCKY: ... That plague victims had lunch with their friends and dinner with their ancestors in paradise. (SCENE CUT) GIBBS: McGee, where's the file? MCGEE: Boss, I cannot access it from-- GIBBS: Ducky! We're coming up! (SCENE CUT) DUCKY: We've already been through this, Gibbs! You can't! (END INTERCUTS) CUT TO: INT. ISOLATION ROOM (SFX: TONY SNAPS HIS FINGERS) TONY: You know what this feels like? KATE: I'm afraid to ask. TONY: Like I'm the king of cool. KATE: Elvis? CUT TO: INT. OBSERVATION ROOM TONY: (FILTERED) Elvis was the king of rock and roll. Travolta is the king of cool. (EMMA GIGGLES) KATE: (V.O./FILTERED) Well thanks for the clarification. CUT TO: INT. ISOLATION ROOM TONY: And do you know why I feel like Travolta? KATE: I feel a movie coming on. TONY: The Boy in the Plastic Bubble. Travolta plays this boy born with an immune deficiency. This is before AIDS. He lives in this giant plastic bubble. KATE: Tony. Tony, please. CUT TO: INT. OBSERVATION ROOM - DAY KATE: (FILTERED) We're stuck here together. Can we just make a pact? Until we're out... CUT TO: INT. ISOLATION ROOM KATE: I won't make fun of all the stupid things you say and you won't tell me any more film scenarios. Deal? TONY: Deal. KATE: Thank you. TONY: Emma. EMMA: (FILTERED) Yes? TONY: You may find this of interest. You look pretty without the mask, by the way. CUT TO: INT. OBSERVATION ROOM - DAY TONY: (V.O./FILTERED) Ralph Bellamy plays the doctor. Ralph Bellomy was this... CUT TO: INT. ISOLATION ROOM TONY: ... Great old time actor. He was in "His Girl Friday" with Cary Grant and Rosalind Russell. CUT TO: INT. LAB - DAY DUCKY: I cannot believe that Gibbs broke protocol! (SFX: DOORS SLIDE OPEN) ABBY: He didn't. DUCKY: He left autopsy. ABBY: But not isolation. GIBBS: McGee, MCGEE: Yeah. GIBBS: You use Abby's computer to access that case file! MCGEE: On it. GIBBS: Okay. Abby, pull surveillance videos from the squad room. Everything from twenty three hundred last night when I left until McGee came in this morning. ABBY: You've got to get a life, Gibbs. GIBBS: The last thing I need is another wife. ABBY: Life. You've got to get a life. MCGEE: Boss! Boss, I found the file. It's a rpe case. GIBBS: Get the investigating agent down here. MCGEE: I can't. It was Pacci. (INTERCUT FLASHBACK OF PACCI'S DEATH) GIBBS: Put it up on the plasma, McGee! MCGEE: Okay! GIBBS: Sarah Lowell. Age twenty one. Senior, Vassar. rped February tenth, oh-one at the Admiral's Bay Hotel in Annapolis. DUCKY: Surely you remember the case, Jethro. The maid found the poor girl naked, tied to the bed two days after she was rped. GIBBS: Duck, contact Cassie Yates in Norfolk. Tell her what happened. I need her help. DUCKY: Yeah, good idea. ABBY: Gibbs! I thought Cassie was working narcotics suppression. GIBBS: Four years ago Cassie was Pacci's probie. ABBY: Oh. GIBBS: The victim was visiting Annapolis to register for an advanced study program at Saint John's. Police had the case for three days before they called us in. ABBY: They found a Navy suspect? GIBBS: A dozen of them. Firsties were partying at the hotel the night of the asault. ABBY: Firsties? GIBBS: Academy seniors. They'd just got their fleet assignments and... are you scanning? ABBY: Gibbs, I can multitask! I can listen to you. I can scan the video. I can rub my tummy and... GIBBS: DNA testing cleared them, closed our investigation. ABBY: But someone wants it reopened. GIBBS: McGee! Call Annapolis P.D. I want their file on this case. DUCKY: I spoke to Cassie. She remembers the case. She'll be here in fifteen minutes. GIBBS: From Norfolk? DUCKY: No, Anacostia. She's working a drug sting. MCGEE: Boss. Boss, I can't call. They're not going to be able to hear me. (bat) I'm going to use the computer. ABBY: Gibbs! Look who else doesn't have a life. Tony came back around midnight. GIBBS: He does his best work at night. ABBY: So he tells us. Here's Tony leaving. That's Ben the mailboy. He didn't do it. GIBBS: Why not? ABBY: He's a Vegan. GIBBS: htler was a Vegan. ABBY: htler was a vegetarian. Big difference. Vegans are so against cruelty they won't even use cosmetics tested on animals. DUCKY: Abigail, could Y. pestis be altered to withstand irradiation? ABBY: No way. Altered or not, it's still a living organism. GIBBS: Could the gilding in the envelope protect it? ABBY: It would have to be at least ten mils thick. This is barely one. Uh-oh. GIBBS: Abby, I do not want to hear any more uh-ohs. ABBY: Sorry. But this swak didn't bleed through. There's another one inside. GIBBS: Get that letter out here where you can examine it! ABBY: Gibbs, I've told you! I have to wait for Atlanta to-- GIBBS: Any doubt it's pneumonic plague? ABBY: No, but... GIBBS: Then no "buts"! Okay? We're losing time. kll those bugs! Now! CUT TO: INT. ISOLATION ROOM - NIGHT TONY: Think they really zap bugs? KATE: What? TONY: These blue lights. KATE: Are you serious? TONY: Ever heard of a placebo, Kate? KATE: Tony, placebos are administered for a psychological effect. TONY: Precisely. How do you know these lamps aren't there to make us think they're helping? Hmm? KATE: Maybe because they're there to kll whatever bugs we breathe into the air. TONY: You may have a point. KATE: You're afraid, aren't you? TONY: Kate, come on. Me? Afraid? Have you ever seen me afraid? KATE: Well, not when the danger is something that we can confront. But all we can do here is lie around and hope that we're not infected. TONY: Now who's afraid? CUT TO: INT. OBSERVATION ROOM - NIGHT KATE: (FILTERED) Anyone with half a brain. I take that back. CUT TO: INT. ISOLATION ROOM - NIGHT KATE: You're not afraid. CUT TO: INT. OBSERVATION ROOM - NIGHT DOCTOR PITT: All the blood cultures came back negative except for Special Agent DiNozzo's. (V.O.) He's infected with Y. pestis. (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - NIGHT (MUSIC OVER ACTION/CAMERA PANS AROUND THE SQUAD ROOM) CUT TO: INT. LAB GIBBS: Damn it, Abby! How much longer? ABBY: Gibbs! Patience is not your virtue, is it? Look at the plasma. GIBBS: Moldy bread. ABBY: It's a Y. pestis microbe from the powder in the letter. This is the Y. pestis as the human race has known it for a half a millennium. The strain of plague we fight with antibiotics. GIBBS: The one in the letter has blue tips. ABBY: It's been genetically altered to resist antibiotics. You catch that, you're stuck in the Dark Ages, which personally I wouldn't mind until it klled me. GIBBS: This wasn't whipped up in your local meth house. ABBY: No, this took a hot molecular biologist and a big-buck lab to make this bio-wapon. Oh, my baby's calling. I ran a mass spec on the swak. GIBBS: You're analyzing lipstick instead of the letter? ABBY: Well, I figured anyone who's into calligraphy has got to wear esoteric lipstick. And since all lipsticks are tested by the FDA... GIBBS: You'll identify the brand. ABBY: Yeah. If it's as rare as I think it is, I can find out who sold it. GIBBS: Yeah, that's good thinking, Abs. ABBY: What? GIBBS: (LOUDER) Good thinking, Abby! ABBY: I don't know, Gibbs! I can't hear you! It must be the helmet head! Not nice, Gibbs. Not nice. This is weird. All the basics are there - wax, oil, eosin dye, titanium dioxide, but they're in such low levels...(SFX: GIBBS SHOUTS) (SFX: COMPUTER BEEP TONES) ABBY: Whoa! GIBBS: What is that?! ABBY: The reason the Y. pestis survived postal irradiation. Seventy two percent of the lipstick is pure lead. A lead swak on the outside of the envelope. Lead swak in the inside. In between Y. pestis on a moisture pad. This is one smart bitch. CASSIE: Wash your mouth out with purple soap. ABBY: Cassie! Wow, are you suppressing drugs or selling them? CASSIE: I'm working undercover. Everything I'm wearing is confiscated even the La Perla underwear. ABBY: Nice. CASSIE: Gibbs! Is that you playing Tella Tubby? Is this the anthrx letter? ABBY: No, it's not anthrx. It's plague. CASSIE: Thank god. anthrx scares the hell out of me. May I? ABBY: Yeah. CASSIE: I know this return address. ABBY: Back-tracked it to the Admiral's Bay Hotel, Annapolis, where the girl was rped. DUCKY: Gibbs! Gibbs, all the blood tests came back negative except-- GIBBS: Tony. Get it off --!(GIBBS TEARS HIS SUIT OFF) GIBBS: Is he sick yet? DUCKY: Well, not outwardly. But the doctor says his temperature is elevating. They Y. pestis is attacking his pulmonary system. Hi, Cassie. CASSIE: Hey Ducky. How far are we into this thirty-two hour window? DUCKY: Too far. Tony will begin coughing soon. When his sputum becomes bloody, he'll only have a few hours to live. GIBBS: Abby, get that damn letter out of there! ABBY: I'm getting it. CASSIE: This is too easy, Gibbs. Custom paper and calligraphy that's traceable. A gene-altering bio-attck. GIBBS: Do you know who sent it? CASSIE: No, but I know who they want us to think sent it. CUT TO: INT. ISOLATION ROOM - NIGHT TONY: Bedtime snack, Brad? DOCTOR PITT: Oh, IV drip increases the efficacy of streptomycin. TONY: They teach you efficacy at Harvard Medical? DOCTOR PITT: Michigan. TONY: Can't be. It's too weird. DOCTOR PITT: What, are you a Wolverine, too? TONY: Buckeye! DOCTOR PITT: Wait, you're that DiNozzo? TONY: Yeah. DOCTOR PITT: Ninety-two. Columbus! TONY: We kissed our sisters. DOCTOR PITT: Thirteen-thirteen tie. You broke your leg in the fourth quarter. TONY: You broke my leg in the fourth quarter. (CAMERA ANGLE ON KATE) KATE: Oh, god. They're going to start bonging beers next. EMMA: I don't think so. KATE: Oh, you don't know Tony. He epitomizes hm. EMMA: His blood test came back positive. KATE: Positive? EMMA: You're okay. He's the only one infected. DOCTOR PITT: (V.O.) So you didn't feel like an old man on spring break? TONY: Are you kidding? Co-eds love a mature man who can bong a beer in under six seconds. (LAUGHTER) DOCTOR PITT: Well that leaves me out. TONY: So tell me, Doc. What have I got? DOCTOR PITT: Pneumonic plague. TONY: Plague? (LONG bat) Plague. KATE: Yeah, Tony. Plague! Because only you would go off and get a disease from the Dark Ages! TONY: I didn't put plague in the letter. KATE: You opened it! TONY: Yeah, so I opened it. What are you so upset about? It's not like you're lying... KATE: Yeah, that's right, Travolta. I'm infected, too. TONY: Oh, Kate. I'm sorry. KATE: Well, you're going to be sorrier. TONY: No, don't tell me Gibbs got it. KATE: Oh, no, no. Just us. But I am going to make your life hell! TONY: How, it can't be worse than the plague. (bat) Maybe it can. (TO DOCTOR PITT) Maybe she can. KATE: I'm warning you, DiNozzo. TONY: You know, I recall a couple of plague flicks. KATE: I'm going to tell Emma all of your dating tricks. TONY: Mmm, Flesh and Blood comes to mind. Paul Verhoeven directed. Rutger Hauer starred. KATE: Tony thinks that speaking Italian turns women on. TONY: Obviously you never saw Jamie Lee Kurtis in A Fish Called Wanda. DOCTOR PITT: Kate... KATE: I know. You want to start my IV. (KATE SNEEZES) TONY: If I catch your cold I'm going to be very pissed. (TO DOCTOR PITT) She'll be okay, right? CUT TO: INT. INNER LAB - NIGHT (SFX: DOORS SLIDE OPEN) GIBBS: Hey, McGee. MCGEE: Yeah. GIBBS: Special Agent Yates needs your computer. MCGEE: Cassie! CASSIE: Hey, McGee. Can I sit in? MCGEE: Yeah, sure. Boss, Cassie and I had parking spaces next to each other at Norfolk. GIBBS: Why are you yelling at me, McGee? MCGEE: So you can hear me through your hel - helmet? GIBBS: The blood tests were negative. (MCGEE TAKES HIS SUIT OFF) MCGEE: Ah, sweet. GIBBS: Not for DiNozzo. MCGEE: Positive? Is he going to be okay? GIBBS: If he isn't, he'll be answering to me. (SFX: RAPID COMPUTER BEEP TONES) CASSIE: Almost there. MCGEE: Ah, no. Cassie, I already downloaded the NCIS report from the rpe investigation. CASSIE: My notes are in my training file. I was only a probie, but Pacci had me interview Sarah. GIBBS: Oh, yeah. You're a female, about the same age. Easier to talk to you than it is to a male agent. CASSIE: It didn't help. She didn't remember a thing. CUT TO: INT. OFFICE - FLASHBACK CASSIE: (V.O.) Traumatic amnesia. Not unusual for rpe cases.(BEGIN FLASHBACK SCENES) GIBBS: (V.O.) If she had amnesia, who accused the Midshipman? CUT TO: INT. LAB - DAY CASSIE: (V.O.) Her mother. Recognize her? DUCKY: (V.O.) Vaguely familiar. CASSIE: (V.O.) How about in this photo? DUCKY: (V.O.) Good god yes. That photo was on every front page in the world. She was more famous than Hanoi Jane. GIBBS: Blow that up. Get closer on the headband. CASSIE: My god, that's a swak! GIBBS: She a microbiologist? CASSIE: No, but the best in the world work for her. Hanna's CEO of Lowell Pharmaceuticals. GIBBS: McGee, I want a search warrant! MCGEE: On it, Boss. GIBBS: I'll grab a change of clothes and will meet you downstairs in five. Go to Bethesda and keep me updated on Tony's condition. DUCKY: Of course. GIBBS: Find out why Kate hasn't checked in! MCGEE: You got it. JIMMY: I got the phones, but they wouldn't trust me with the wapon. GIBBS: I wouldn't either, Jimmy. (GIBBS WALKS TO THE ELEVATOR) JIMMY: Uh, that's Agent DiNozzo's cell phone, Sir. Gibbs? CUT TO: INT. ISOLATION ROOM - NIGHT DOCTOR PITT: Why are you doing this, Kate? KATE: Damned if I know. But I'm doing it. You're not going to tell Tony. DOCTOR PITT: Well, I've already informed Doctor Mallard you're not infected. KATE: Ducky will understand. Gibbs will be the problem. DOCTOR PITT: No. The problem is that Tony can infect you. KATE: What with all the UV lights and air scrubbers, or are they just here for patient morale? DOCTOR PITT: I cannot permit you to stay. This strain has been genetically altered to resist antibiotics. Do you realize what that means? KATE: That the IV in Tony's arm is useless. So why do it? DOCTOR PITT: Well, it can't hurt. And it gives him... KATE: Hope. TONY: Kate, tell Doctor Brad about that wet t-shirt contest you won. KATE: Tell Emma about the transsexual you tongued. TONY: That never happened. (EMMA LAUGHS) TONY: That never happened. (SFX: TONY COUGHS) TONY: Thanks for passing along the cold, Kate. (FADE OUT) MUSIC IN: INT. BUILDING LOBBY - DAY CASSIE: How do you want to handle this? GIBBS: Subtle approach. You serve the warrant. I'll shove my Sig in her face. CASSIE: Gibbs, Hanna Lowell has been arrested at more protests than Jesse Jackson. She won't be intimidated. GIBBS: Okay, then I'll sh*t her and I'll go after whoever made the damn bug for her. CASSIE: You're not going to kll her. GIBBS: I said sh*t, not kll. CASSIE: There are dozens of microbiologists here. It would take days to interrogate them. Tony doesn't have days. GIBBS: Do you know where her office is or should I ask the receptionist? CASSIE: Boss always has the top floor office. GUARD: Excuse me. Excuse me. You have to check-in with the receptionist. Do you have an appointment? GIBBS: No. We have a federal warrant. GUARD: Security alert. CUT TO: INT. OUTER OFFICE - DAY HANNAH: (V.O.) It's about time you got here. CUT TO: INT. OFFICE - DAY HANNAH: I left enough cookie crumbs. GIBBS: You left more than cookie crumbs, lady. HANNAH: I regret I resorted to such a dramatic act, but you people at NCIS left me no choice when you lied to protect the Academy. Now, you admit that a Midshipman rped my daughter and this will all be over. CASSIE: The DNA testing cleared... HANNAH: Oh, stop it. I know how easy it is to dope a DNA test. GIBBS: You love dramatic acts. CASSIE: They can be very effective. GIBBS: The effect of this one is going to imprison you for life. CASSIE: That long, hmm? GIBBS: You're dying. CASSIE: Rather rapidly. Which makes incarceration highly unlikely. GIBBS: From the looks of it you want to protect just about every living thing on the planet except for Federal agents. CASSIE: My daughter never recovered from the horror of that weekend. The truth will help her heal. Please! Please, give it to her. You won't get that antidote until that Midshipman comes-- GIBBS: We don't need it. The post office went postal on your plaque. Zapped it right through the lead swak. No one was infected. HANNAH: Oh, I don't believe you. GIBBS: I don't give a damn whether you believe me or not. You are under arrest for a biological attck on a Federal agency. Take her to interrogation. I'll wait here for the task force to arrest the others. CASSIE: You have the right to remain silent. If you give up that right... HANNAH: There are no others. I acted alone. GIBBS: You are not a microbiologist. HANNAH: (SHOUTS) I stole the Y. pestis! Doctor Pandy doesn't even know it's missing. CUT TO: INT. OUTER OFFICE - DAY GIBBS: Doctor Pandy! RECEPTIONIST: What? GIBBS: Where's Doctor Pandy's lab. RECEPTIONIST: North wing, ground floor, B-L-Alpha. But you need authorization to enter the North wing! HANNAH: Someone was infected. I hope it was Westmoreland. CUT TO: INT. ISOLATION ROOM - DAY (SFX: TONY CONTINUES COUGHING) DOCTOR PITT: Lay back, Tony. All right, everybody behind the shield. Tony, I'm going to need you to take a deep breath and hold it. TONY: I don't think I can, Brad. Maybe Emma can do it for me. You have very healthy lungs, Emma. EMMA: Is he always like this? TONY: Unfortunately. Tony's humor has always been sexist, juvenile, raunchy. EMMA: Funny? KATE: Oh, sometimes he can be funny. CUT TO: INT. BL-ALPHA ROOM - DAY PANDY: There is no antidote. I developed a vaccine, not an antidote. It's of no use once the victim is infected. Hannah misunderstood. GIBBS: She understood. PANDY: No, it's the brain tumor. GIBBS: That's what's klling her? PANDY: It's inoperable, obviously affecting her mind. Why else would a woman who fought to ban biological wapon use them? GIBBS: I don't know. Why is Lowell Pharmaceutical making them? PANDY: We're not. GIBBS: You didn't create this beast? PANDY: Yes! But only to develop a defense against it. Antibiotic resistant diseases are potential trror1st wapon. GIBBS: A trror1st isn't klling my agent, you are! PANDY: I understand your anger. GIBBS: No, you don't! But if you don't save him, you will. PANDY: It has a su1c1de gene that stops it from replicating after thirty two hours....as a security precaution. GIBBS: It dies? PANDY: Yes. GIBBS: It's dad now? PANDY: If it's over thirty two hours since the specimen has been infected, all of the Y. pestis is dad. However, the damage will have been done. GIBBS: The specimen is going to die?! PANDY: No. No, not necessarily. He has the same chance of survival as those infected in plagues of the past, probably better since he will be healthy and young. GIBBS: What was the survival rate of the past? PANDY: People were weakened by depleted crops, bad nutrition.. GIBBS: Damn it! What was the survival rate?! PANDY: Fifteen percent. CUT TO: INT. ISOLATION ROOM - DAY DUCKY: It looks like pneumonia.(SFX: TONY COUGHS B.G.) DOCTOR PITT: Worse, I'm afraid. He's showing signs of cyanosis. His fingernails and lips are going blue. DUCKY: The Y. pestis is starving his body of oxygen. It's too late to reverse, isn't it? DOCTOR PITT: It's never too late. DUCKY: Until I get the body. CUT TO: INT. ISOLATION ROOM - DAY TONY: I'm sorry I teased you with all those movies, Kate. KATE: Teased? You've tortured me. For two years all I've heard is John Wayne and Clint Eastwood, James Bond. TONY: James Bond... is a character... played by Sean Connery, George Lazenby, Roger Moore, and Pierce Brosnan. Why are you wearing a mask?(SFX: TONY COUGHS) KATE: Because I have a cold. TONY: (WEAKLY) Why aren't you sick? KATE: Because I'm stronger than you, Tony. TONY: (WEAKLY) Are not. KATE: Am too. (TONY CHOKES/ GAGS) KATE: Tony! Tony! Sit up! DOCTOR PITT: Kate, you should leave. Now! (SFX: DOORS SLIDE OPEN) CUT TO: INT. OBSERVATION ROOM - DAY (SFX: DOORS SLIDE OPEN) DUCKY: You were brave to stay with him, Kate.(KATE CRIES) KATE: (CRYING) He's dying, Ducky. GIBBS: Ah, the hell he is! CUT TO: INT. ISOLATION ROOM - DAY (SFX: DOORS SLIDE OPEN) DOCTOR PITT: Whoa, whoa, whoa. Who the hell are you? GIBBS: His boss. The bug has a su1c1de gene. It's dad. It's been dad for over an hour. He's no longer infectious. (WHISPERS TO TONY) Tony, listen to me. Are you listening? TONY: (GASPS WEAKLY) I'm listening. I'm listening, Boss. GIBBS: (WHISPERS) You will not die, you got that? (bat) I said, you will not die. (GIBBS HITS TONY) TONY: (WHISPERS) Okay, I got you, Boss. GIBBS: (WHISPERS) Good. It's your new cell. I'd get the number changed. Women keep calling for Spankie. TONY: (WHISPERS) Spankie. CUT TO: INT. WAITING ROOM - DAY CASSIE: (V.O.) Will you excuse me? (TO GIBBS) How's Tony? GIBBS: Ah, he'll make it. What happened? CASSIE: Oh, Hanna lost it in the car. Started rambling, flashing peace signs. When she bared her breasts and shouted "Make love not wr!" I drove straight here. GIBBS: Sure it wasn't an act? CASSIE: Her neurologist says it's the tumor. He just left. He wants her released into his care. GIBBS: Not likely. He can see her here as much as he wants. Is that Sarah? CASSIE: Just as blank as four years ago. (TO SARAH) Sarah, this is Special Agent Gibbs. SARAH: I am so sorry. I can't believe this. I knew someday Mother would do something terrible. I told her, but she wouldn't believe me. GIBBS: Told her? SARAH: That it wasn't a Midshipman. GIBBS: So you remember who asault you? SARAH: No! GIBBS: How do you know it wasn't a Midshipman? SARAH: I... heard they were all cleared. GIBBS: Are you sure you don't remember? SARAH: (LONG bat) Yes. CASSIE: You know who rped you, don't you, Sarah? (LONG bat) Sarah? (SARAH CRIES) SARAH: (CRYING) I wasn't rped. Will thought it was funny... tying me to the bed. DISSOLVE TO: INT. HOTEL ROOM - FLASHBACK SARAH: I'd said that the Midshipman looked cute in their uniform. And so when he went out to get us some burgers and shakes, he tied me up so that way I wouldn't run off with one of them. It was a joke! (DIALOGUE OVER MONTAGE OF FLASHBACK SCENES) (FILTERED VOICES B.G.) SARAH: And then when he didn't come back... I started going crazy - first worrying about why and then... and then being found. CASSIE: What happened to him? SARAH: He was klled by a ht-and-run driver crossing the road. CASSIE: Why did you say you were rped? SARAH: I was tied naked to a bed. What else could I tell my mother? CUT TO: INT. INTERROGATION ROOM - NIGHT KATE: Can I sleep here? DOCTOR PITT: As long as you don't give Tony that cold. (SFX: DOORS SLIDE OPEN) CUT TO: INT. INTERROGATION ROOM - NIGHT EMMA: He's asleep. KATE: Thank you. (SFX: LIGHTS CLICKS OFF) TONY: This reminds me of the end of Alien. (KATE CHUCKLES) (ENDING CREDITS UP AND OUT) (FADE OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x22 - SWAK"}	foreverdreaming
FADE IN: EXT. CAR - MOVING WESTFALL: Woo-hoo! VA Beach here we come! JANSSEN: Now you're sure this girl has a friend, Westfall? WESTFALL: Look, would I lie to you? JANSSEN: (bat) In a heartbeat. WESTFALL: You know what? That hurts. Yes, she has a friend. JANSSEN: Yeah? What's she look like? WESTFALL: Karen says she's very blond. JANSSEN: mentlly or physically? WESTFALL: Look, we're out to have fun. JANSSEN: Right. So how dumb is she? WESTFALL: Uh, thirty eight double D. (MUSIC OVER ACTION/CAR CONTINUES DRIVING) (SFX: SIREN) WESTFALL: Oh, damn it. JANSSEN: How fast were you going/ WESTFALL: Seventy five.(SFX: CAR BRAKES TO A STOP) JANSSEN: That's what you get for screwing a buddy over. WESTFALL: Hey, pull out your military I.D. Maybe he'll let us slide with a warning. (SFX: OFFICER WALKS TO THE CAR) WESTFALL: Sorry about that, Officer. My friend and I were just on our way to-- (SFX: MULTIPLE MUFFLED gn) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES /CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "TWILIGHT" (SFX: KATE SKETCHING) MCGEE: Is that Tony? KATE: No. MCGEE: Are you sure? It really resembles-- KATE: Is there a reason you've been haunting my desk all week? MCGEE: Uh, no. I was just ... KATE: Or maybe you just decided to take over DiNozzo's job of annoying me while he's on sick leave. MCGEE: I just wanted to check that everything was okay. KATE: Why wouldn't it be? MCGEE: Well, you and Tony were close and, you know... KATE: No, I don't know. What? MCGEE: He almost died. KATE: We're N.C.I.S. agents, McGee. There is a chance one of us might die every time we walk through the door. MCGEE: Yeah, but I'm the idiot that handed him an envelope full of the plague. KATE: Tim, it's not your fault. Look, if you want to think about something, why don't you think about all of the times that Tony has insulted us, invde our privacy, the fact that he almost died owing us all money. MCGEE: That's true. He can be pretty obnoxious. KATE: Uh-huh. (SFX: PHONE RINGS) MCGEE: Do you miss him as much as I do? KATE: More. It's part of his charm. It's like an ex-rated Peter Pan. You know he told all the girls downstairs you're gay, right? Said it would cut down on the competition. MCGEE: (bat) That bastard! KATE: Hold onto that feeling and you're going to be just fine. MCGEE: Do you want to know what he said about you? KATE: Mmm. MCGEE: That you tried to sleep with him when you were in Paraguay. KATE: I will kll him. CUT TO: INT. NCIS ELEVATOR - DAY GIBBS: Are you sure you're up for this? TONY: Never felt better. GIBBS: Yeah. TONY: Yeah. GIBBS: You look like crap. TONY: I missed you too, Boss. GIBBS: You've got another week of sick leave coming, Tony. You should take it. TONY: I was going crazy at home. Maybe I'm not a hundred percent, but you need me. Okay, what about Kate and McGee? They're practically lost without me. GIBBS: They got more work done in the last two weeks than in the whole year. (SFX: DOORS SLIDE OPEN) CUT TO: INT. SQUAD ROOM - DAY TONY: They did miss me, right? GIBBS: Yeah. Something like that. TONY: I can't wait to see their faces! KATE: (INTO PHONE) You did the right thing. Where is the car exactly? TONY: (SHOUTS) Hi, Kate! KATE: (INTO PHONE) Sorry about that, Captain. Where did you say the car was? TONY: Must be important. Probie, did you miss me?! Long time no-- KATE: (INTO PHONE) Thank you, Captain. TONY: What's wrong with him? KATE: Virginia State Police just got a nine-one-one call, Gibbs. Two dad sailors. GIBBS: Where? KATE: In a car off Route Seventeen in Fredericksburg. GIBBS: Let's roll! Gas the truck. TONY: Sure. MCGEE: On it, Boss. TONY: Maybe I did die. GIBBS: Feel that? TONY: Feel what? (GIBBS HITS TONY) TONY: Ow! GIBBS: You're still alive. Welcome back, DiNozzo! CUT TO: EXT. ROAD - DAY KATE: Looks like the sht knew what he was doing, Gibbs. Tight groupings, three rounds each. GIBBS: Everyone of them a kll sht. Passengers Curtis Janssen. Pensacola, Florida. No military ID. Credit cards and money are intact. KATE: So it wasn't a robbery? GIBBS: Depends. KATE: On what? GIBBS: On what else is missing, Kate. KATE: Looks like the kller tried to clean up. GIBBS: Not exactly. KATE: Ah! Oh. GIBBS: We knew he took at least two things with him when he left. KATE: He needed his prints? GIBBS: Bag it. TONY: Boss! State cops ran the Mustang's plates. It's a rental car out of Dulles Airport. I got a call into his-- (MUSIC OVER ACTION/TONY TUMBLES DOWN THE HILL) TONY: Ow. GIBBS: Are you okay? TONY: I'm just trying to catch my breath. GIBBS: Should have taken that extra week off, DiNozzo. Help him up, Kate. We'll see what's keeping Ducky. KATE: Does that hurt? TONY: Yep. KATE: Good. GIBBS: Where the hell are they, McGee? MCGEE: Well, Palmer must have taken a wrong turn again, Boss. (SFX: VAN BRAKES TO A STOP) DUCKY: You should have known right was wrong. JIMMY: Doctor, I just-- DUCKY: You should have known right meant left! I'm terribly sorry, Jethro. Mister Palmer got us lost again. JIMMY: Doctor, you had the map! DUCKY: You gave it to me. JIMMY: Sir, for the record I.... (JIMMY AND DUCKY WALK O.S.) TONY: Looks like a professional ht. Probably took the hands to confirm the kll. KATE: McGee told me what you said. TONY: Did he now? Oh, come on. I was joking around. I didn't think he'd really believe me. KATE: Really? And why's that? TONY: Anyone looking at you can tell your breasts are real. KATE: You told him I had breast implants?! TONY: (bat) No. KATE: You know what, Tony?! I can't even believe I worried about you. You are nothing but a-- TONY: Snake. KATE: Yeah, exactly. TONY: No, big-big-big-big snake. Down there. (KATE GASPS) KATE: Tell me it's not poisonous. TONY: I think it is. (SFX: KATE WHIMPERS) KATE: Eeuu! TONY: Okay. KATE: What is it doing? TONY: It's wrapping around your leg. KATE: Do something, Tony! TONY: Okay! I'll try and grab it. Just don't make any sudden moves, all right? KATE: What if you miss it? TONY: They do this stuff on the Discovery Channel all the time. How hard can it be? KATE: Oh, screw it! I'm going to sht it. TONY: Hey, put that gn away. You're going to blow your foot off. Let me do this. KATE: God, my life in your hands... I knew it was going to end this way. TONY: Quiet. You're making me nervous. Now, about there. Ah. Gotcha! (SFX: KATE CRIES B.G.) KATE: Okay, I'll give you this much. You do have your moments. TONY: So are we friends again? MCGEE: Oh, cool corn snake. Can I hold him? KATE: No, it's poisonous, McGee! MCGEE: Actually they're not, Kate. TONY: Yes they are, McGee. MCGEE: What about that one you caught at Shenandoah State Park? You had it around your neck for like an hour. TONY: That near-fatal illness may have clouded my memory. KATE: You're such a loser! (KATE HITS TONY) KATE: All right, back to work. McGee, check the trunk. Nobody touches dad bodies until Ducky says all clear TONY: Freeze, McGee! Don't move! Car's wired to explode. Looks like the detonator's tied to the trunk. MCGEE: What? KATE: How far did you turn the key? MCGEE: Uh... not sure. Almost all the way, I think. TONY: Okay, don't let it snap back, all right? MCGEE: Yeah. TONY: Let go. MCGEE: Okay. TONY: Okay, both of you run! KATE: Tony, we're not leaving you standing-- TONY: I'm a lot faster than you are! I'll be right behind you. This is not a debate, okay? This thing might be primed already. Anthony, you should have taken that extra week. (MUSIC OVER ACTION/TONY RUNS FROM THE CAR) CUT TO: EXT. DIRT ROAD - DAY MCGEE: (SHOUTS) It's the car! KATE: (SHOUTS) It's wired to-- (SFX: HUGE explsin) KATE: (SHOUTS) Tony!!!! TONY: (GASPING) Boss, you remember when I said I never felt better? (bat) I lied. (MUSIC OUT) FADE IN: INT. AUTOPSY ROOM - DAY TONY: I'm telling you, I'm fine. DUCKY: One thirty six over eighty-four is not fine for you, Tony. Your blood pressure is high. TONY: Almost getting blown up tends to do that to me. Not to mention hanging around Kate when she's in one of her moods. KATE: This isn't funny, DiNozzo. TONY: No, it's not. If I didn't come in to work today, you and McGee would be lying on one of those tables over there. DUCKY: Well at least your temperature is pretty normal. TONY: Yeah, I'm good to go. (SFX: TONY GROANS) DUCKY: Muscle soreness? TONY: Only when I move or breathe. DUCKY: Yes, clearly you haven't quite recovered from your bout with Y. pestis. You need a rest. TONY: No, I need to get back to work, Ducky. KATE: Damn it, Tony. I should just take you home and get you in bed. (bat) Okay, that didn't come out the way I intended. (SFX: DOORS SLIDE OPEN) GIBBS: What didn't, Kate? KATE: Oh, I was just saying.... KATE: She was just expressing our concern for Tony. GIBBS: Yeah? How is he? DUCKY: Stubborn, pigheaded, and unaware of his own limitations. GIBBS: Sounds about right. DUCKY: I haven't finished with you yet. GIBBS: Did we get a positive I.D. here yet, Duck? TONY: So are you buying me dinner first or should we go back to your pl-- (KATE HITS TONY) DUCKY: Fortunately the skulls remained relatively in tact. JIMMY: The problem is sorting out which parts belong with whom. GIBBS: Yeah, I can see that, Palmer. DUCKY: The dental records were conclusive. Passengers were Navy Lieutenants Dean Westfall and Curtis Janssen. TONY: Well that checks. According to the car rental place, Westfall rented a Mustang two months ago. GIBBS: Kate, pull up the service records. Have McGee find out who made that nine-one-one call. KATE: On it. GIBBS: Tony. TONY: Yeah? GIBBS: Go lie down before you pass out. TONY: I'm not going to pass out. I might cry a little, maybe feel sorry for myself. But DiNozzos do not pass out. Coming, Boss. KATE: Can't you do something, Ducky? DUCKY: I'm doing it right now. KATE: What? DUCKY: Praying. CUT TO: INT. SQUAD ROOM - DAY MCGEE: Are you going to be okay? TONY: Sure. MCGEE: You're not looking so hot. TONY: Well, at least that's an improvement. MCGEE: Over what? TONY: According to Gibbs, I look like crap. MCGEE: You know Kate has really been worried about you. TONY: Kate worries about everything. MCGEE: No no no. I mean really worried. TONY: What's your point, Probie? MCGEE: Well, I think that maybe... you know... TONY: (CHUCKLES) Me and Kate?! It would never happen. MCGEE: Why not? TONY: She's too smart for that. You know what - you don't believe me? She's coming right now. KATE: Gibbs wants to know who made that nine-one-one call this morning, Tim. MCGEE: On it. KATE: Where's DiNozzo? MCGEE: Uh... I think he's laying down somewhere. KATE: Oh, good. He needs it. MCGEE: You care a lot about him, don't you, Kate? KATE: Well, he's my teammate. What do you think? MCGEE: I don't know. Sometimes I think it might be more than that. KATE: Tony? Are you kidding? MCGEE: Oh, come on. You never thought about it? KATE: Well, I guess there are times when Tony can be... charming, warm, not completely obnoxious. MCGEE: Right, so if he wasn't your teammate? KATE: Oh, that's a tough one. Well, on the plus side, he is smart, brave. Not to mention kind of hot. You know, in a different world I could see myself marrying someone like him. (KATE POURS WATER ON TONY) TONY: Ah! (LONG bat) Very funny. GIBBS: Hey, I thought I told you to lie down! TONY: I was. I am. GIBBS: Not here. CUT TO: INT. LAB - DAY (MUSIC OVER ACTION/ABBY MIXES VIALS) TONY: Well hey there, little lady. ABBY: Tony, you're back! I missed you! TONY: Ow-ow-ow! ABBY: What's wrong? Did I hurt you? TONY: I'm fine. Just a little sore, you know, from the explsin and all. ABBY: I'm sorry. Do you want to sit down? TONY: Well, I was kind of thinking about lying down next to your little refrigerator thingy over here. ABBY: Sure sure. TONY: Oh, yes. ABBY: Here, you can use Bert as a pillow. (SFX: FLATULENCE) ABBY: He's supposed to make that noise. TONY: You have a stuffed animal that farts? ABBY: Yeah, it's cool, huh? TONY: Yeah, in a disturbing way. So what did I miss? (SFX: FLATULENCE) ABBY: Gibbs has been really cranky since you've been gone. I think his knee is bothering him again. And Kate broke up with some lawyer guy, which is really good because he wasn't very big on personal hygiene. (SFX: FLATULENCE) TONY: About the case, Abs. I got a glimpse of the bmb. It was definitely a pro job. ABBY: You are correct, Sir. I've run ten samples. The main electric charge is C-four. It's primed with DET cord and blasting caps.(SFX: FLATULENCE) TONY: So we should be able to trace the source of the manufacturer? ABBY: You'd think so, but no. TONY: Abby, every military explsive over the last twenty years has had taggants mixed in for identification purposes. ABBY: Yeah, but these don't. TONY: Are you telling me this guy made this stuff from scratch? ABBY: Mm-mm. The compositions are exact. It's off the shelf. TONY: That's not possible. How's that possible? ABBY: It shouldn't be possible. GIBBS: Oh, it's possible. (SFX: FLATULENCE) TONY: That was the stuffed animal, Boss. Right Abby? ABBY: What stuffed animal? GIBBS: Abs, are you sure these explsives aren't traceable? ABBY: Um, so far. But I'm still checking. GIBBS: What about the detonator? ABBY: Also weird. The electronics are fairly simple, but there's no serial numbers on anything. It's like it's been sanitized. (SFX: FLATULENCE) GIBBS: Let's go, DiNozzo. We've got problems. Someone's trying to kll us again. TONY: I don't think he meant that literally. (SFX: FLATULENCE) CUT TO: INT. SQUAD ROOM - DAY MCGEE: (INTO PHONE) Okay, thanks, Lieutenant. We'll still need a copy of that dispatch tape. (TO GIBBS) Boss, according to State Police the nine-one-one call was-- GIBBS: Anonymous? MCGEE: Yes. And it was also-- GIBBS: Untraceable. MCGEE: Yeah. Uh... they're sending out a tape of the call over. GIBBS: Kate, what do we know about the Lieutenants? KATE: They're both pilots, Gibbs. Lieutenant Curtis Janssen is an instructor in Pensacola. GIBBS: What's he doing in Virginia? KATE: According to his unit he was on leave visiting his friend. Lieutenant Dean Westfall also out of Pensacola, but for the last two months has been T.A.D. at the Aberdeen Proving Ground in Maryland. MCGEE: Proving ground? TONY: That's where they test new military equipment. Technology, Probie. Maybe they used Westfall's prints to access the base. KATE: I checked, Tony. None of Aberdeen's security systems rely on fingerprint or palm scanners. GIBBS: What was he working on there? KATE: Classified. I will find out. TONY: So what's going on, Boss? GIBBS: Car didn't have any military decals. Lieutenants were wearing civvies. MCGEE: And the nine-one-one caller specifically said that it was two dad sailors. GIBBS: Someone wanted NCIS to investigate the scene. KATE: Why? GIBBS: The same reason they rigged that car to explode, Kate. TONY: We were set up. So someone really is trying to kll us? GIBBS: Yeah, they came pretty damn close. CUT TO: INT. MTAC - DAY MORROW: (V.O.) You're absolutely certain about this, Jethro? GIBBS: Someone went to a lot of trouble to try to get us out there on that road today, Director. MORROW: For what purpose? GIBBS: Unclear, but what concerns me is the explsive used; military high grade, extremely difficult to trace. Tough to get outside of certain circles. MORROW: You're not suggesting another agency? GIBBS: I'm not suggesting anything, Sir. All I know is I've pissed off a lot of people over the years. MORROW: I would ask you to keep your suspicions to yourself. GIBBS: Can I ask why, Sir? MORROW: There may be other factors involved. GIBBS: Like what, Sir? MORROW: Currently, I'm not at liberty to discuss it. GIBBS: I almost lost my entire team out there today. If there's something I should know. MORROW: This is not open to discussion, Agent Gibbs. GIBBS: Yes, Sir. MORROW: You're dismissed. GIBBS: You have a good evening, Sir. (GIBBS WALKS O.S.) (DOOR OPENS/ CLOSES) MORROW: Get me the Director of the F.B.I. NCIS TECH: Yes, Sir. CUT TO: INT. SQUAD ROOM - DAY MCGEE: You want some? TONY: No, thank you. MCGEE: He just passed on free food. KATE: Maybe he is dying. TONY: Well, I haven't had much of an appetite lately, Kate, on account of having the pneumonic plague. KATE: Yeah, I know, Tony. I was there. You don't have to keep bringing it up every five minutes. TONY: It's not every day you escape the clutches of the Black Death, Kate. It was a life-changing experience. MCGEE: How so, Tony? TONY: Ask Kate, she was there. GIBBS: Kate, I want to know what Westfall was doing in Aberdeen by the time I get back. KATE: Where are you going? GIBBS: Out. McGee, I want other reasons why someone would chop off his hands. Tony? Eat something. CUT TO: EXT. STREET - NIGHT (SFX: MOTORCYCLE ENGINE REVS B.G.) CUT TO: INT. SQUAD ROOM - NIGHT MCGEE: Why take someone's hands? TONY: Trophies? MCGEE: But why leave the other Lieutenant's? KATE: If he's chopping hands off, I don't think we can expect him to be rational, McGee. MCGEE: We've got trouble. KATE: What was your first hint? TONY: The two dad bodies downstairs or the explsin, McGee? MCGEE: No, I mean FBI trouble. (FORNELL ENTERS THE ROOM) KATE: Fornell? TONY: We must be in worse shape than we thought. FORNELL: Where's Gibbs? KATE: He's not here. FORNELL: Where is he, Agent Todd?? KATE: He's out. Try him on his cell. FORNELL: I did. He's not answering. TONY: What's going on? FORNELL: Ari Haswari is back in country. KATE: You let that psycho back in the States without telling us?! FORNELL: He was supposed to be helping us uncover an Al Qaeda cell in the D.C. area. TONY: What do you mean "supposed to", Fornell? FORNELL: We now think he's here for more personal reasons. He's planning on klling Gibbs. CUT TO: EXT. COFFEE SHOP - NIGHT (GIBBS WALKS FROM THE RESTAURANT AND WATCHES HASWARI) (MUSIC OUT) FADE IN: EXT. COFFEE SHOP - NIGHT ARI HASWARI: Washington is such a lovely city this time of year. Don't you agree, Special Agent Gibbs? (bat) Not much of a conversationalist, are we? GIBBS: I am mostly waiting here, Ari. ARI HASWARI: Oh, for what? GIBBS: A reason to sh*t you again. Someone tried to kll my team today. I'm thinking it was you. ARI HASWARI: You wound me, Gibbs. If it was me, I'd be dad already. GIBBS: You're still coming in with me for questioning. ARI HASWARI: Unfortunately, I have made other arrangements for the evening. GIBBS: It wasn't a request. ARI HASWARI: I know. That's why I took the precaution of planting an explsive device under one of these tables. Be a good NCIS agent. I may even tell you where. GIBBS: What are you doing here? ARI HASWARI: An Al Qaeda cell is planning an attck in Washington. I'm here to stop it. GIBBS: Yeah, what's the target? ARI HASWARI: I don't know. GIBBS: Where is the cell located? ARI HASWARI: I wish I knew. GIBBS: You're doing a hell of a job for a Mossad Double Agent. ARI HASWARI: I can, however, gain access to that information. But it comes at a price, one you may not be willing to pay. GIBBS: Try me. ARI HASWARI: Al Qaeda sent me here to conduct my own mission as a test. I pass and I'm allowed into the Washington cell. They want me to kll you. You don't seem surprised. GIBBS: That means that I'm doing my job. ARI HASWARI: Yes. And in order for me to do mine, you have to die. I wonder, what would you do in my position? GIBBS: kll myself. (ARI LAUGHS) ARI HASWARI: Sadly not an option. That's the one part of my religion that I subscribe to. GIBBS: I can help you out with that. ARI HASWARI: A kind offer, to be sure. I also have one for you. GIBBS: I'm listening. ARI HASWARI: You have twenty-four hours to find and eliminate the cell. If you fail... GIBBS: I appreciate the heads up. ARI HASWARI: It's the least I could do. (LONG bat) How's Caitlyn, by the way? I've thought of her often since my last visit. GIBBS: Go near her and I don't care what government agency is watching your back, I will kll you this time. ARI HASWARI: I wouldn't have it any other way. GIBBS: Where is the device? ARI HASWARI: Oh, I almost forgot. I lied. There is none. (SFX: MOTORCYCLE STARTS) (ARI DRIVES O.S.) (GIBBS LOOKS UNDERNEATH THE TABLE) CUT TO: EXT. ALLEY - NIGHT (MUSIC OVER ACTION/GIBBS RUNNING TO THE DUMPSTER) (SFX: HUGE explsin) (SFX: CAR ALARM B.G.) CUT TO: INT. SQUAD ROOM - DAY TONY: (INTO PHONE) Please call me back. (TO KATE) That's twenty messages I left. We should look for him, McGee. GIBBS: Look for who? TONY: We've been calling you for the last hour, Boss. GIBBS: Well, yeah. My ringer thing got turned off. TONY: You're not gong to believe who's back in town. GIBBS: Ari. TONY: Maybe you will. MCGEE: Fornell said that he's here to-- GIBBS: Yeah, I know. I just had coffee with him. TONY: So what happened? GIBBS: He tried to kll me. We find out what Westfall was doing in Aberdeen yet? MCGEE: Uh, Boss, aren't you going to elaborate a little bit first? GIBBS: Yeah, McGee! I'm alive! Now tell me about Westfall. MCGEE: Uh... he was only attached to Aberdeen. He was actually working with an aerospace contractor in Maryland. Danborn Avionics. GIBBS: Doing what? TONY: Testing field service modules or something like that. I have no idea. The FBI sent a team over to the company to investigate their security. GIBBS: The FBI? TONY: Lots happened in the last hour, Boss. GIBBS: Where's Fornell? TONY: MTAC. GIBBS: Make the ringer thing work. (GIBBS WALKS O.S.) MCGEE: Is it me or did he take the whole Ari situation really well? TONY: That's because he's looking forward to it. MCGEE: Looking forward to what? TONY: Finally getting to kll him. CUT TO: INT. STAIRWELL - NIGHT (DOOR CLOSES) GIBBS: How long did you know that bastard was here? FORNELL: We had our reasons, Gibbs. GIBBS: How long? FORNELL: About a week. We didn't know what his cover mission was with Al Qaeda until today. GIBBS: I'm taking him down. FORNELL: Not this time. The FBI can handle this. GIBBS: The civilians in the coffee ship that he tried to blow up today will probably disagree with you, Tobias. FORNELL: Look, if it was up to me I'd put a round through his forehead. It's not. You're sitting this one out. GIBBS: You gonna try to stop me? FORNELL: No. No, not me, Jethro. CUT TO: INT. MTAC - NIGHT MORROW: Ari has been declared off limits. NCIS will have no further involvement in the case. GIBBS: You're kidding, Sir? MORROW: I've also been ordered to place you under protective custody... for your own safety. GIBBS: Meaning for Ari's? MORROW: Take it for what it is. A direct order, Agent Gibbs. And you damn well better follow it to the letter. GIBBS: Yes, Sir. I'd also like to take this opportunity to offer you my resignation, Sir. MORROW: And I will accept it... after you've completed your current case. GIBBS: Sir? MORROW: Have you found any evidence connecting Ari to the mrder of our two Naval officers? GIBBS: No, we haven't, Sir. MORROW: I will now hand you over to our federally certified protective custody expert, Agent Todd. I hear she used to protect the President. You should be flattered. He's all yours. I expect you to follow her orders to the letter, as if they were mine. KATE: That last part? He meant it. (V.O.) In his home... CUT TO: INT. SQUAD ROOM - NIGHT KATE: ... two teams. Six hour shifts, alternating radio checks every ten minutes. Outside I want a mobile foot patrol and two permanent observation posts. TONY: Gibbs is not going to like that. KATE: Well screw what he likes, Tony. I'm not going to let that psycho within five miles of Gibbs. McGee, I need full audio and video surveillance inside and out. Everything tied back into MTAC. MCGEE: You've got it, Kate. GIBBS: Go home. It's late. KATE: Gibbs, I don't think we're going to be going home. GIBBS: I'm staying here. I do not need an army of agents staying up all night watching me build a boat. KATE: You won't leave the building? GIBBS: If I do, I'll call you. Go. Go home. Get some sleep. First thing tomorrow morning we're gonna check out Danborn Avionics and find out what the FBI missed. Go! (PASSAGE OF TIME) (MUSIC OVER ACTION/GIBBS LOOKS OVER THE PHOTOS) (GIBBS WALKS THROUGH THE SQUAD ROOM WHILE EVERYONE SLEEPS) (BEGIN DREAM SEQUENCE) INT. SQUAD ROOM - DREAM SEQUENCE (KATE YAWNS LOUDLY AND LOOKS AROUND THE SQUAD ROOM) (SFX: KATE GASPS) ARI: Did you miss me? (END DREAM SEQUENCE) KATE: Gibbs! TONY: You dream about Gibbs? KATE: What? No. God no. TONY: You just said his name. KATE: No, I didn't. TONY: Yes, you did. MCGEE: What's going on? TONY: Kate dreams about Gibbs. MCGEE: Oh, what was it about? KATE: No, I didn't dream about Gibbs. TONY: She screamed his name. MCGEE: Really? Here you go. KATE: Look, if you want to check out the defense contracting company with us today, you're wearing a vest. GIBBS: I can live with that. KATE: That's kind of the point, Gibbs. CUT TO: EXT. DANBORN AVIONICS - DAY EBERLEE: (V.O.) Lieutenant Westfall was the military liaison for Danborn's Modular UAV project. CUT TO: INT. CORRIDOR - DAY EBERLEE: And like I told the FBI, I really doubt his mrder had anything to do with it. TONY: Modular UAV? EBERLEE: It's an unmanned aerial vehicle we're developing with the Navy. It can be reconfigured for different missions in the field. GIBBS: What kind of missions? EBERLEE: Reconnaissance, nuclear, and biological agent testing, uh... ground attck. KATE: So it can be used as a wapon? EBERLEE: Someday. It's only a prototype. Oh, and uh... before you ask. We changed all our security codes and removed Westfall's from the system last night. Follow me. CUT TO: INT. HANGAR - DAY TONY: Any chance one of your modular UAVs is missing? EBERLEE: Nope. We only have one, and that's her in the hangar. GIBBS: What are these? EBERLEE: Scale models we use in wind tunnel tests. KATE: Any of your security systems rely on fingerprint or palm scanning technology, Mister Eberlee? EBERLEE: Why? MCGEE: Lieutenant Westfall was missing his hands. TONY: Someone hacked them off! EBERLEE: Uh... the FBI... didn't mention that. TONY: We did. What's the answer? EBERLEE: Our radio flight control systems use biometrics. Only pilots entered into the system can fly them. KATE: Like Westfall. EBERLEE: Yeah. But we only have one flyable UAV and that's it. GIBBS: What about these? EBERLEE: Those are target drones. Danborn Avionics got its start making them in the nineteen seventies. They're relics. They're not operational. GIBBS: Looks like one's missing. EBERLEE: It was... it was probably moved. GIBBS: Where? EBERLEE: We sometimes use it for spare parts. GIBBS: Mm-hmm. EBERLEE: It's not possible. I mean you need a team of engineers to get one of these heaps in flying shape. Not to mention you need a radio flight control. GIBBS: And I'll bet Lieutenant Westfall's is missing. CUT TO: INT. WAREHOUSE - NIGHT (MUSIC OVER ACTION/CAMERA PANS AROUND THE ROOM/ MEN WORKING ON ELECTRONICS) (FADE OUT) FADE IN: INT. LAB - DAY ABBY: According to these schematics, the drone's pretty outdated from a tech perspective, Gibbs. GIBBS: So is a hand grenade. ABBY: Excellent point. The Danborn TX-Bravo is basically a jet propelled RC plane. Meaning, it's manually controlled by a radio transmitter. KATE: If the transmitter they stole was from a modern UAV, they might not be able to fly it. ABBY: True. True. But Danborns flight codes are based on the original software. So a few tweaks... GIBBS: What's the range? ABBY: Forty miles. Unless they load it down with explsives. GIBBS: Ah, they will. ABBY: The payload would have to be pretty small, Gibbs. Twenty five pounds or less if they want to get it off the ground. It's not a lot of bang for your buck. GIBBS: It is if you're going after a soft target, Abs. ABBY: Soft target? KATE: People. ABBY: Oh. GIBBS: Any way to stop it if it's launched? ABBY: It wouldn't be hard to destabilized the system. I have the operational frequencies. Another controller could probably jam it. GIBBS: Get me another controller. ABBY: But Gibbs, there's a catch. You'd have to be within a forty mile radius to jam it. (GIBBS WALKS O.S.) ABBY: Kate, I had a weird dream about Tony last night. KATE: Eeuu, not the one where the two of you were at the zoo and he-- ABBY: Oh, no no no. He's fully clothed in this one. But he had blood all over his face. I woke up crying, Kate. I never cry. Never, ever, ever. KATE: Hey, it was just bete noire. Gotta go. (INSERT WAREHOUSE SCENE) CUT TO: INT. SQUAD ROOM - DAY GIBBS: What do you got? TONY: A sht of our drone thieves from Danborn's security footage from two nights ago. MCGEE: The day the Lieutenants were mrder. GIBBS: Can you I.D. them? TONY: Well, they're both wearing ski masks, but check this out. Maybe I'm paranoid, but does that guy look familiar? (INTERCUT MONTAGE OF FLASHBACK SCENES) GIBBS: You're not paranoid. That bastard's Ari! TONY: He's not looking for an Al Qaeda cell. GIBBS: Hell, no. He's running it! You get Fornell in here! TONY: How much should I tell him? GIBBS: Tell him he's about to make the second biggest mistake of his life! CUT TO: INT. MTAC ROOM - DAY FORNELL: My second biggest mistake, Jethro? That's very dramatic. What was the first? GIBBS: When you married my second wife. FORNELL: You could have warned me. GIBBS: I did. FORNELL: In my own defense, I thought he was exaggerating. He wasn't. GIBBS: Where's Ari? FORNELL: What part of sit this out don't you get? GIBBS: The part where he steals a Navy UAV and kills a whole bunch of people with it. FORNELL: My people checked out Danborn Avionics. Their only UAV is accounted for. GIBBS: He stole a target drone, Fornell! Pull it up. Packed the nose of that with Semtex, he's got a poor man's Cruise mssile. TONY: Guess your boys missed it. GIBBS: Ari's playing you. He's no double agent! He never has been! Where is he? FORNELL: All we've got is an encrypted spook cell phone number. GIBBS: Call him. FORNELL: But you can't trace it from here, Gibbs. You need a high level NSA intercept. GIBBS: Patch us through. FORNELL: We're talking dedicated satellite time. CRANSTON: (ON MONITOR) I've got two NSA satellites in range for the next five minutes, gn. What's the number? FORNELL: Are you sure about this? GIBBS: As sure as when I told you she would clean out your bank account when she left. (SFX: BEEP TONES) CRANSTON: (ON MONITOR) Patching it through now. (V.O.) Are you sure he's going to answer? GIBBS: Put my name on his caller I.D. He'll answer. CUT TO: INT. WAREHOUSE - DAY (PHONE RINGS) ARI HASWARI: (INTO PHONE) Special Agent Gibbs, now how did you get this number?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: I pulled some strings. ARI HASWARI: (V.O./FILTERED) Yes, your friend Fornell. I imagine he is there with you. GIBBS: Nope. Nope. I've been thrown off the case. ARI HASWARI: (V.O./FILTERED) It's for the best. (SCENE CUT) ARI HASWARI: (INTO PHONE) I really wasn't looking forward to klling you. (SCENE CUT) GIBBS: I wish I could say the same thing, Ari. I've resigned from NCIS. ARI HASWARI: (V.O./FILTERED) I hope it wasn't something I said. GIBBS: Next time if we meet, Ari, it'll be the last time. There won't be anybody to stop me. ARI HASWARI: (V.O./FILTERED) Gibbs, I'm honored. I had no idea you made so much of a-- (END TELEPHONE INTERCUTS) CRANSTON: He's on a cell phone grid thirty miles out of Norfolk. Newport News area. I've got it narrowed down to a two block radius. GIBBS: (OVERLAP) Let's go. FORNELL: What the hell's he doing in Norfolk? CUT TO: INT. CAR - MOVING GIBBS: Do you know how to work that if we have to jam the drone, McGee? MCGEE: Uh, well Abby explained it to me but I've got to be honest with you, Boss. I.... I'll figure it out. TONY: What's today's date, Kate? KATE: May twenty fourth. TONY: Paula Cassidy's ship gets back from the Gulf today. We're hooking up this weekend. KATE: Well, don't you think you should concentrate on that trror1st attck first? TONY: The whole Marine Amphibious Strike Group returns today, Kate. Five ships all of them headed to Norfolk. MCGEE: Tony, I doubt that a drone, even one packed with explsives, could do any real damage to a warship. GIBBS: The piers will be packed with Navy families, McGee. TONY: Welcoming them home. CUT TO: EXT. PIER - DAY (SFX: BAND PLAYS B.G.) (SFX: VOICES SHOUTING B.G.) ARI HASWARI: Do you want to give them a teddy bear? LITTLE GIRL: Yeah. ARI HASWARI: Huh? Like this? LITTLE GIRL: Yeah. ARI HASWARI: (INTO RADIO) The locator beacon is set. CUT TO: EXT. STREET - DAY GIBBS: Did you figure it out? MCGEE: I did. The drone is on one of three radio frequencies. It'll take a few minutes to jam each of them. But when I ht the freq, it's on. The drone should go off-target. TONY: It'll take hours to search these warehouses, Boss. GIBBS: Give me the gn. (SFX: gn BLAST) (SFX: VOICES SHOUT) GIBBS: Tony, get the fre escape. Kate, with me. McGee, start jamming. (MUSIC OVER ACTION/ALL RUN IN THE ALLEY/ ARI HASWARI ON THE ROOF) (SFX: RAPID gn) (MUSIC OVER ACTION) (SFX: DRONE ENGINE STARTS) (SFX: gn CONTINUES) MCGEE: Boss, they fired the drone! GIBBS: Jam it, McGee! MCGEE: I can do this. I can do this. CUT TO: EXT. PIER - DAY (MUSIC OVER ACTION/SCENES OF PIER/ ARI HASWARI) CUT TO: EXT. ROOFTOP - DAY TONY: (QUIETLY) One down, boss. No visual on anyone else. (DOOR OPENS) GIBBS: Let's do it. (MUSIC OVER ACTION) (SFX: gn) (SFX: trror1st SHOUTS IN A FOREIGN LANGUAGE) (SFX: gn CONTINUES) TONY: Clear. GIBBS: McGee, this thing is still flying! CUT TO: EXT. ALLEY - DAY MCGEE: Okay, one freq down, two to go! (SFX: gn EXCHANGE) MCGEE: Boss, one of them sht my transmitter! CUT TO: EXT. ROOFTOP - DAY TONY: You know how to fly this thing? GIBBS: No, but I know how to crash it. (SFX: gn) (INTERCUT DRONE CRASHING INTO THE OCEAN) GIBBS: McGee, are you okay? CUT TO: INT. ALLEY - DAY MCGEE: I got one trror1st inside! I don't know if I got him, but he stopped shting. GIBBS: (V.O./FILTERED) Hold your position. We'll flush him. MCGEE: Okay. CUT TO: INT. ROOFTOP - DAY GIBBS: I'm out. KATE: Me, too. (SHOUTS) sht! (KATE DIVES ON THE ROOFTOP) (SFX: gn) TONY: Kate? (LONG bat) Are you okay? KATE: Ow! I just got sht at point blank range, DiNozzo. What do you think? TONY: You're not going to be going to Pilates class tomorrow? (SFX: KATE GROANS) GIBBS: Protection detail is over. TONY: You did good. GIBBS: For once, DiNozzo is right. KATE: Wow. I thought I'd die before I ever-- (SFX: g*n) CUT TO: EXT. ROOFTOP - DAY ARI HASWARI: Sorry, Caitlyn. CUT TO: EXT. ROOFTOP - DAY GIBBS: Ari! (FADE OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "02x23 - Twilight"}	foreverdreaming
Original Airdate: 20-SEP-2005 (Black-and-white snapshot of Gibbs in crosshairs of a rfle, gn out, searching) (View from the top of a crude elevator shaft. A man walks in and the elevator rises. The camera cuts to a view of the back of his head, and we see he is carrying a rfle. The door rises and the camera moves to the front, showing us that this is Ari Aswari. He steps out and looks around before moving off screen right. The sht cuts to Ari running over the rooftop of a building, and we hear gn in the distance. Ari kneels down. The camera cuts briefly to show a view of another building rooftop. Ari sets the snper rfle up and looks through the crosshairs.) (Through the crosshairs: We see Anthony Dinozzo aiming at a trror1st.) (View of Dinozzo on the rooftop from a distance.) (Cut to Ari peering through the scope) (Crosshairs: Gibbs walks in front of Dinozzo. The crosshairs move quickly to focus on Timothy McGee, kneeling by a car.) (Cut to Ari's face) (Crosshairs: McGee ducks just as Ari fires. He scrambles behind the car. The scope moves to show another trror1st fring on McGee.) (Ari looks up from the scope, almost looking disappointed.) (A casing is ejected from the chamber.) (Ari aims the gn again.) (Crosshairs: View of McGee's head behind the car. The scope moves to a briefcase McGee left in front of the car. A sht is fired; a hole is now in the open briefcase top.) (Ari empties the chamber again. The casing falls to the ground.) (Crosshairs: Gibbs fires his gn at something twice.) (Ari's finger on the trigger.) (Crosshairs: Gibbs ducks and Kate blocks a sht for him. The focus is now on her.) (Ari peers through the scope again.) (Distance sht of the rooftop.) (Crosshairs: Gibbs running and aiming his gn off screen right. He fires. A trror1st falls.) (Ari re-aims.) (Crosshairs: Gibbs runs over to Dinozzo and bends down.) (Zoom on Ari's face) (Crosshairs: Gibbs and Dinozzo help Kate up) (Pan from Ari's face down barrel of gn) (Crosshairs: Kate turns to Gibbs, on whom the crosshairs are centered.) (Ari's finger on trigger as he readjusts the gn) (Crosshairs: Gibbs and Kate talk. Focus moves to Kate) (Ari's face, then finger on trigger. His finger tightens. A gn) (Crosshairs: Kate's head jerks backwards and she falls to the ground.) (Ari smiles with satisfaction) Ari: Sorry, Caitlin. (Crosshairs: Gibbs moves around, searching for the sh*t, gn drawn. He appears to look straight at the crosshairs momentarily before looking away. The picture takes on the snapshot appearance.) END TEASER Opening Credits (B&W: Dinozzo and Abby hugging through rain-streaked window.) (The morgue is dark, light entering from the hallway. Faint 'dings' as elevator doors open and close. Ducky enters. He hangs up his umbrella and takes off his coat and hat. The doors hiss close. Ducky moves to the slab and opens the body bag on it, revealing Kate, looking as though she is sleeping. He turns the light on and gazes down at her body for a moment. A look of pain and sorry crosses his face, and he looks away with a slight sigh. He takes his glasses off.) (sht of Kate's face) Ducky: Oh, Caitlin. I am so sorry. (He stares down at her.) (sht of Kate) (Cut to outside the NCIS bullpen. It is raining. Gibbs stares at Kate's empty desk.) Kate: (off screen) Why me, Gibbs? (Cut to Kate, standing in the room, bllet hole still obvious on her forehead.) Kate: (angrily) Wasn't stopping one bllet enough for you? (Gibbs doesn't reply) Kate: (shouting) Why did I have to take two? (Gibbs shakes his head) Gibbs: I-I don't know. Kate: (disbelieving) You don't know? Come on, Gibbs. What's that famous gut tell you? (Gibbs eyes dart back and forth as he searches for an answer) Kate: (yelling) Why did I die instead of you? (The elevator door opens. Kate is suddenly gone, leaving Gibbs there alone. Dinozzo and McGee step off the elevator, walking businesslike over towards Gibbs.) Dinozzo: Found Ari's snper's nest, Boss. McGee: Roof of the abandoned office building to the east. (Tony takes an evidence bag from an inner jacket pocket.) Dinozzo: Didn't police his brass. (Gibbs looks up) (sht of 3 spent casings in individual jars in the bag.) (Gibbs circles around his desk and takes the evidence bag from Tony. He holds it under his desk lamp.) McGee: They're Lapua .308s. (Tony gives him a look.) McGee: I-I didn't mean that you couldn't see that, Boss. Gibbs: (with a shrug) I can't, without my glasses. (Tony and McGee exchange looks) Gibbs: (turning back to the evidence) Lapuas. Match-grade snper amo. You guys find any bllts? Dinozzo: Uh, none that matched the casings. I left three guys on the roof searching. (A bat of silence as Gibbs continues to examine the casings through the bag) Dinozzo: McGee and I'll go back to the roof, Boss. (Gibbs hands the bag back to Tony, who flinches, expecting a blow) Gibbs: Tony, you're soaking wet. Go put some dry clothes on. (He pats Tony on the back) (Tony stares at Gibbs in disbelief and then looks at McGee.) (Cut to Gibbs from outside the window) Gibbs: Ari's rooftop wasn't much higher than ours. (CGI of bllet leaving the snper rfle, passing through Kate's head, and continuing on towards, it seems, the viewer.) (Back to Gibbs) Gibbs: Rooflines behind were lower. No telling how far a full metal jacket bllet would go after klling Kate. McGee: (quietly, to Tony) How's he know it's a full metal jacket? Dinozzo: Didn't you see Kate? McGee: I didn't want to. Dinozzo: Her head was intact. McGee: So...she didn't look bad? Dinozzo: No. No, not at all, probie. In fact, a little mortuary putty right here... (taps McGee's forehead) and she'll be good as new. Course, she was having a bad hair day, though, right back here, 'cause a full metal jacket'll put a hole the size of a grapefruit right about there...(smacks the back of McGee's head) McGee: Tony. Please. Dinozzo: (pats McGee on the shoulder) I'm sorry, kid. Gibbs: Three rounds? Only one ht? Dinozzo: He must've popped off a couple of rounds while you were weaving across the roof. Gibbs: I was standing still when Kate was sht. Dinozzo: McGee lasered the distance at nearly 600 meters. McGee: 572. Dinozzo: Slight shift in the wind, he misses you, he hits Kate. (Flashback) (Gibbs on roof, panning gn around. Kate dad on the ground. Focus on an American flag. It is perfectly still.) (End flashback) Gibbs: There was no wind. Dinozzo: What're you saying, he was aiming at Kate? You're the one he wants to kll! McGee: Ari had a thing for Kate. Dinozzo: What are you talking about? McGee: She told me that he was always coming on to her. In autopsy, when he kidnapped her and let her go. Dinozzo: She never told me that. McGee: Gee, what a surprise. Dinozzo: What? (smacks McGee's head) Huh? Gibbs: Don't do that, Tony. (Tony looks confused) (Gibbs examines a hole in a briefcase.) Gibbs: When was this ht, Tim? McGee: When I was pinned down. Gibbs: Ari have a sht at it? (Flashback) (McGee behind car. shts ring out. He scrambles for cover. Flashes of the trror1st. A hole is blown in the briefcase after McGee returns fre.) (End flashback) McGee: Our car was between the controller and the trror1st. There was no way he could have ht it. Boss, I'm-I'm sorry, I should have realized it was Ari. Dinozzo: Why didn't he pop McGee? McGee: Oh, thanks, Tony. Dinozzo: All I'm saying is, you're a sizable target. The controller isn't. McGee: You saying I'm fat? Dinozzo: No. I mean, maybe a little around the waist, under the chin. Gibbs: He didn't have an angle on Tim. Dinozzo: Wow. You owe that sh*t from the warehouse a thank you. He saved your life. Gibbs: (talking through his observations of the controller) The bllet entered here. Could've ricocheted into the car. McGee: Well, I'll get on it. Gibbs: Abby should be here by now. Tony, see what you can pull off that brass. (Gibbs hands Tony the evidence bag. He walks away. The two agents stare after him. Gibbs looks around agitatedly before walking quickly off.) Gibbs: I'm going for coffee. Can I get you boys some? (They stare, dumbfounded.) Dinozzo: No. McGee: Thanks. (Gibbs nods and leaves) Dinozzo: That's a first. McGee: He called me 'Tim.' Dinozzo: He patted my back. McGee: It's kind of nice. Dinozzo: Nice? I don't want nice. It's not Gibbs if he's nice. (Tony turns away, leaving McGee standing there) (Cut to a Hummer driving by a fence in the rain. Gibbs walks along a sidewalk. He stares up at the sky and then looks in both directions and zips up his jacket. He walks by the window of Abby's lab, and we see her inside, head in hands.) (Cut to Abby, inside lab. She's staring at a caricature of herself as a vampire, complete with fangs and batwings. The camera pans around until we see Kate, with a long platinum blond wig and black lipstick) Kate: You're a mess, girl. Red eyes, no makeup. If ever there was a time for black lipstick, it's now. (Abby smiles and wipes a tear away. She picks up black lipstick and begins to apply it) (Kate comes up in the mirror behind her) Kate: Remember when we first met? (laughs) I couldn't believe you were a forensic scientist. I thought Goths had bats for pets, or vice versa. Abby: I really liked you, Kate. A lot. Kate: Don't start that again. Where're your pigtails. I love you in pigtails. (Abby starts putting them in) That's better. You were persistent, Abs. First the dark lipstick, then the black nail polish. Next thing you know, I have a tat on my bum. Oh, God. Ducky's gonna see it! (she and Abby both laugh) I'm dad, and I'm embarrassed. (Cut to Tony at the entrance to the lab, listening to Abby laugh) Dinozzo: Abby. (Abby stops laughing and looks at him) Abby: Hey, Tony. Dinozzo: You okay? Abby: I will be, soon as I tie up my pigtails. There. What can I do for you? (a bat) What? Dinozzo: You're weirder than Gibbs. Abby: How so? Dinozzo: He's being nice. Abby: Gibbs is always nice. Dinozzo: To you and Ducky, maybe, to me...growls at, smacks on the head. Abby: (rising) Which makes you feel wanted. Dinozzo: Yeah. Abby: What d'ya got for me? (a moment of silence. Tony hands Abby the evidence bag with the 3 casings) Dinozzo: .308 casings from Ari's snper's nest. (He hands the bag to her) Abby: (exasperated) You would have to give me the most popular caliber in the world. Dinozzo: Well, hey, I just found them. Can you tell what kind of gn he used? Abby: (rolls eyes) A .308. Dinozzo: What model .308? Abby: You don't know? Dinozzo: Would I be asking? Abby: Well, how'm I supposed to know? Dinozzo: Because you're the firearms expert. Abby: That I am. (pulls a latex glove from a box) And when I'm done, I will tell you: the propellant, the primer, the percentage of nickel and copper in the brass, whether or not all three rounds were fired from the same wapon, which you assume, but I can prove or disprove. I will tell you who manufactured the amo, the batch number, and perhaps where it was sold. I will also, with some degree of accuracy, tell you if it was fired from a lever action, a bolt action, a semi-atmatic, or an atmatic wapon. However, there is no way in hell I can tell you which of the 87 different .308 models fired those rounds! Dinozzo: The rounds are Lapua. Abby: What? Dinozzo: Lapua made the amo. Logo's on the round. Abby: (tearfully) Tony, I'm gonna miss her. (They hug) Dinozzo: Me, too. (Crosshairs: Tony's head through rain-streaked window. Focus shifts to Abby and the picture goes to B&W) END ACT I (B&W: Gibbs and a woman smile at each other) (Gibbs walks along sidewalk in the rain, carrying a cup of coffee. His path leads right in front of the windows to Abby's lab.) (The sound of a bllet whipping past Gibbs' head. He ducks slightly. The bllet shatters the glass in one of the windows. The gn rings out. Gibbs drops the coffee and runs.) (Cut to inside the lab. Tony has knocked Abby down and is lying on top of her.) Dinozzo: You ht? Abby: (strained) No. You're heavy. Dinozzo: (as he gets up) Sorry. (he drags her against a metal lab bench) (He draws his gn and she feels his leg) Abby: God, no wonder you're so heavy. Tony, you're all muscle. Dinozzo: Abby, shh! Abby: Packing a nice booty, too. Dinozzo: Hey, is this how you deal with getting sht at? Abby: I don't know, it's my first time. Gibbs: (os) Abby! Tony: Boss, down! (the lights go mostly out, and Gibbs ducks to run towards Tony and Abby) Taking fre. (Gibbs hits another 2 light switches and ducks) (Cut to outside. We see a dark SUV. A close-up of the driver's side reveals that the window is down and a snper is aiming out of it. It is Ari.) (Crosshairs: Searching for a target, and the lights go out) (Ari pulls the muzzle back, takes the brass from the chamber and tosses it onto the road. He rolls the window up and drives away.) (Cut to inside the lab) Gibbs: (to Abby) You okay? Abby: Yeah. Gibbs: Close off Anacostia Park between the bridges. It's a crime scene. (Dinozzo nods and starts to move off, but Gibbs grabs his leg) Hey! What if he has a night-vision scope? Dinozzo: That's a good point, Boss. (he crawls away) Gibbs: I will get you bulletproof glass. Abby: There's no such thing, Gibbs. Gibbs: Okay. bllet-resistant glass. (he pulls something from her hair) Abby: Ari didn't sht at you and ht Kate by mistake, did he? He's after me now. Gibbs: I was walking by that window when he fired. Abby: You're just saying that to make me feel safe. Gibbs: (pulls her into his arms) I'll keep you safe, Abby. (kisses her head) I promise. (Cut to morgue. Ducky is writing on a specimen jar. He moves to stare down at Kate's face. Her eyes open and she smiles a bit.) Kate: I appreciate your keeping me covered in front of the others. Especially Tony. Ducky: Yes, I know how modest you are. Kate: (chuckles) Were. I'm dad now, Ducky. Shouldn't be. Could've klled Ari right here, in autopsy. (Flashback) (Kate grabs scalpel, thrat Ari, he overpowers her.) (end flashback) Ducky: Why did you hesitate? Kate: His eyes. There was something in his eyes that made me not want to kll him. Ducky: His eyes were ice to me. (Sound of the door hissing open) (Ducky looks back a bit, and covers Kate's face as Gibbs enters.) Gibbs: Ari fired into Abby's lab. Ducky: Good Lord. Gibbs: It had to come from across the river, from Anacostia Park. Ducky: Was Abigail hurt? Gibbs: No, she's a little shook up. Tony's with her. Ducky: In the lab? (walks to opposite end of autopsy) Gibbs: In the squad room, writing up an incident report. (Gibbs stares at Kate's covered body on the slab) Gibbs: You should've brought in another ME, Duck. Ducky: Couldn't. (approaches with a bottle of alcohol) Not for Caitlin. (pours the spirits into two glasses) Gibbs: I've lost men in combat. You hope you won't, you know you will. Ducky: This is different. Gibbs: But it shouldn't be. Kate was an agent. She knew she had to lay her life on the line. (Ducky starts to say something, but Gibbs keeps talking) But you're right. It's different. Ducky: Well, you just said it. You've lost men. Have you ever lost a woman? (chuckles) Let's face it, Jethro, you and I are a couple of old chauvinists. Women will never be equal in our eyes until they're equal in death. Gibbs: Why, Ducky? Why Kate? Why not me? Ducky: Well, maybe he meant to ht you. Gibbs: No. No, him sniping at me means he's after my people. Women first. Ducky: Then he's torturing you. One has to wonder: what made him such a sadist? Gibbs: I don't give a damn. I just want to kll the bastard. (Cut to evidence garage. Abby's head is buried in the trunk of a car. She's wearing an orange NCIS jumpsuit) Abby: Hey, McGee, take a look at this. (McGee closes a door and places a large piece of metal on the ground before walking around to the back of the car. Abby holds up a casing.) Abby: I think it's a .308. (McGee just stares at Abby's butt) Abby: Stop staring at my butt and get me an evidence jar. (He gets her one) McGee: Drop it. (She drops it in and he twists the lid shut...only to go back to staring at her butt) Abby: Oh! I found another one! (Gibbs is looking over McGee's shoulder now. He turns around quickly) McGee: Boss, uh, we-we-we found a .308 slug. (Gibbs nods) (Abby stands up and turns around with another slug in the tweezers in her hand) Abby: Two. They were plugged in the trunk. (McGee gets another evidence jar and she drop the slug in) Gibbs: (examining other evidence jars) These fired by that dirt bag in the warehouse? Abby: Yes. Those I found in the right side of the car. (She points and Gibbs moves to look) .9 mil. slugs. McGee: (as Gibbs runs his finger around a large hole in the car's side) Ari missed with his first sht, ht the controller with the second. Gibbs: Where were you before you took cover? McGee: (moving around the car) Uh, right here. (squats down to demonstrate) Gibbs: (judging bllet trajectory) Tony's right. You do owe that trror1st a thank you. (McGee looks at the hole, then away) (Flashback) (The trror1st sht at McGee. He dives for cover behind the trunk. The bllet hole is superimposed over current McGee's forehead) (End flashback) (McGee looks at the bllet hole again and stands up.) Dinozzo: (entering) He didn't police his brass again. Metro PD found a .308 casing in the park next to tire tracks. Gibbs: And? Dinozzo: Nothing. I was waiting for you to tell me to tell them to bring the evidence here ASAP. Gibbs: What, I have to tell you that Dinozzo? Dinozzo: You always do. Gibbs: Tell Metro PD to... Dinozzo: (interrupting) Already did, Boss. (Gibbs gives him a dirty look and gets on the elevator) Oh, and by the way, the director wants to see you up at MTAC. (gives a thumbs up) (Tony smiles superiorly) Abby: Why are you baiting Gibbs? Dinozzo: Trying to get him to stop being nice. McGee: I like him nice. (Tony and Abby regard McGee for a bat and then smack him simultaneously on the back of the head) (Cut to Gibbs entering MTAC. Agents with headsets are staring at monitors depicting an apparently empty road in a desert.) (Gibbs sits next to the director.) Director: What do you have? (as Gibbs and the director talk, the camera pans across the array of screens in MTAC) Gibbs: Brass from Ari's snper's next, three bllts, tire tracks in Anacostia Park. Ari fired a sht across the river into our forensics lab. Director: Unusual for a snper not to police his brass, isn't it? Gibbs: Yes, sir. Director: I've received calls from every director I know promising to hunt down this snper as if he'd klled one of their own. Gibbs: FBI might be the most help. Ari Aswari is their mole. Director: I endorsed your recommendation to award the Presidential Medal of Freedom to Special Agent Todd. Gibbs: (nods) Thank you, sir. Director: According to your after-action report, no one actually saw the snper who klled Agent Todd. Gibbs: Ari was on a rooftop 600 meters away. Director: Extraordinary sht. Gibbs: No, sir, not really. Director: You were a snper with the Corps, weren't you? Gibbs: Two tours. Director: Vietnam? Gibbs: I'm not that old, sir. Panama. Desert Storm. Director: Thought you were older. Female Agent: (os) Target vehicle approaching. Male Agent: (speaking in Hebrew) Acquiring target. Voice over speakers: We have a hard lock. Male Agent: Target confirmed. Engage. Voice over speakers: wapon free. (as this was going on, the camera cuts between a view of the screens showing a white van and the people in MTAC.) Voice over speakers: Good lock on target. (The crosshairs on the screen run along until they find the vehicle. The van explodes in a ball of fre) Male Agent: (in Hebrew) Confirming target ht. Thank you very much. (Agents shake hands and murmur congratulations to each other. Gibbs watches) Female Agent: (os) Good job, everyone. Director: Where was I? Gibbs: Avoiding using Ari's name and the word 'snper' in the same sentence. Sir. Director: Your anger is understandable, Jethro. You lost a good agent. You want payback. Gibbs: Don't you, sir? Director: That's a passion I can't afford. Gibbs: You honestly think it wasn't Ari? Director: No, but there are those who do. Gibbs: (laughs) Those who ran him? Those who thought they had the Holy Grail of moles? Those people covering their asses right now. Director: Make sure you cover yours when you bring him in. Gibbs: Won't be a problem, sir. I won't be bringing him in. Director: (looks sideways at Gibbs then starts to rise) Anyway, you're not my problem anymore, Jethro. Gibbs: You fring me, sir? Director: I've been offered a deputy director's position at Homeland Security. Gibbs: You'd leave NCIS, sir? Director: Well, the agency could use some younger blood. Gibbs: Well, who'd be replacing you, sir? (a smile tugs at the director's lips) Not me. Director: (laughs) Much as I like you, Jethro, I would not sh*t NCIS in the head. (walks away) He's you're problem now, Director. (A woman stands up and turns around.) Jennifer Shepard: Hello, Jethro. (Flashback) (Flashes of people in bed together, and a brief sht of the Eiffel Tower) (End flashback) Shepard: Should we skip the 'You haven't changed a bit' bull? Gibbs: Why start lying to each other now, Jen? Shepard: Any problem taking orders from me? Gibbs: As director, or as a woman? Shepard: Either. Gibbs: (shakes head slightly) That was six years ago. (rises) The past won't be a problem. (descends the stairs and looks her in the eye) You were a damn good agent. Especially under cover. Shepard: Jethro. Gibbs: Madam Director. (They smile at each other for a moment before the sht becomes B&W) END ACT II (B&W: Ari, sitting in the driver's seat of a car, puts a cell phone down) (Sheppard and Gibbs emerge from MTAC) Shepard: You have no physical evidence linking Ari to the sht, no wonder agencies here and abroad have doubts. Gibbs: This bastard already klled one of my people, he's trying to kll more, and I'll tell you something else: No suit with a tight sphincter is getting in my way, and that includes you, Jen. (He continues down the stairs, but she stop at the top of the steps) Shepard: Special Agent Gibbs. (he turns and walks back up to her) On the job, it is 'Director Sheppard' or 'Ma'am.' Gibbs: Okay, what about off the job? Shepard: There won't be any 'off the job,' Agent Gibbs. Gibbs: That's too bad. I missed you, Jen. Shepard: Don't make this difficult, Jethro. Gibbs: (short nod) Fair enough. Won't happen again. Director. (she walks down the stairs in front of him) Shepard: We will continue with this conversation in private. Gibbs: Gotta change my clothes, we can talk in my car on the way to the house. Shepard: Gibbs! Gibbs: Hey, I got a dad agent, and a snper on the loose. I do not have ten minutes to spare. Tony. Where are we? Dinozzo: McGee and Abby are working firearms analysis. I'm matching tire tracks to vehicles. (he peers at Sheppard from over the photograph he is looking at) Gibbs: No one is to leave the building. McGee's on protection detail with Abby. I'll be back in an hour. (Tony peers around the side of his desk at Sheppard's legs as she and Gibbs head for the elevator. He smiles wolfishly.) Kate: (os) Your mother should have washed your mind out with soap.(she is dressed as a Catholic school girl, with an exceptionally short skirt) Gibbs leaves with a woman, and your only thought is "Nooner." Dinozzo: Was not. Kate: Was, too. I've always known what you were thinking, Tony. (He doesn't reply, checking her out instead) What? What are you up to? (his tongue pokes out between his teeth as he ogles. She looks down and squeaks) Tony! I just died, and you're having a sexual fantasy? Dinozzo: (a pause and a smile) I can't help it. (a wind blows, revealing Kate's panties) Kate: (furious) Dinozzo! Dinozzo: Sometimes I used to picture you naked. (a scream) (A girl dressed in fatigues with a visitors badge is standing nearby, having obviously just walked in. Tony doesn't notice her. She looks at where he's staring, then back at him. He finally notices, but is caught unawares.) Dinozzo: I'll call you back. (hits the receiver of his phone twice and turns his attention to the new girl) Hi. I was just... (shrugs a little) Ziva David: Having phone sex? Dinozzo: (trying to laugh it off) Phone sex? No. Ah, charades. Ziva: Charades? Like, uh... (moves her hands like she was running an old-fashioned video camera) Dinozzo: (accusingly) You've played. Ziva: Never on the telephone. Dinozzo: Yeah, yeah. My partner and I were coming up with quotes for Saturday night. Ziva: (she nods, obviously not believing him) You play charades on Saturday night? Dinozzo: To kll time before I go clubbing. Who are you? Ziva: Ziva David. Mossad. (shows him her ID) Dinozzo: You're Israeli? Ziva: (sarcastically as she walks towards Gibbs' desk) Very good, the way you made that connection. Mossad, Israeli. Dinozzo: What can I do for you, Miss David? Ziva: Nothing. I'm here to see Special Agent Gibbs. Dinozzo: How do you know I'm not Gibbs. Ziva: (ironic laugh. she sits in McGee's chair and stares at him) Gibbs? Dinozzo: He'll be back in an hour. You sure I can't help you? Ziva: (tut-tuts) I don't think so. (Tony stares at her and she smiles confidently back at him) Dinozzo: We got off to a bad start. (clears throat) I'm Special Agent Tony Dinozzo. I wasn't playing charades, I was...remembering my partner. Ziva: (frowns up at him) Naked? Dinozzo: No. (a bat) Yes. I- I was just...Look, I'm not the only man who does it. Ziva: Women do it, too. (eyes him) With handsome men. (he turns and goes back to his desk, and she calls after him) And even an occasional woman. Dinozzo: Now you're teasing me. Ziva: Didn't your partner tease you? Dinozzo: Not about sex. Kate was kinda puritanical. Ziva: Sorry. Dinozzo: But that didn't matter, I wasn't interested in her we were...(pauses to watch her take her hair down) partners. Ziva: She wasn't attractive. Dinozzo: She was...but not to me. Ziva: Then why did you imagine her naked? Dinozzo: (laughs and shakes a finger at her) Miss David, you can sit there and slouch provocatively for an hour if you'd like, or you can tell me what you need, and maybe I can help. Ziva: You can't help because I'm here to stop Special Agent Gibbs from klling a Mossad officer. Dinozzo: Ari Aswari? Ziva: Yes. Dinozzo: (beckons her close) I'd wish you luck, but I want the bastard dad, too. (Cut to Gibbs' basement. Jen Shepard is sitting there) Shepard: This the same boat you were building 6 years ago? Gibbs: Nope. Shepard: What happened to it? Gibbs: brned her. Shepard: (confused) Why would you...? (enlightenment dawns) You named it after an ex-wife. Gibbs: Let's go. Shepard: Which one? Gibbs: You know damn well which one. Shepard: Why didn't you change the name? Gibbs: Because it wouldn't matter. Every time I went out on her, I'd think of Diane. Shepard: You could've sold it. Gibbs: And watched some other guy sail off on her? Shepard: You didn't care who sailed off on Diane. (long pause) Leroy Jethro Gibbs. You are a strange man. Gibbs: (incredulously) Me? Hah! You were a good agent, Jen. Shepard: (annoyed) Were? Gibbs: Yeah. Director's job is pure politics. Shepard: I'm good at politics. NCIS needs someone who can shake the money tree on the hill and work the sister agencies. Gibbs: Wait. You won't call a boat a 'she', but it's 'sister' agencies?! Shepard: I'm a schizoid libber. Comes from working with chauvinists like you. Gibbs: I can't believe you would give up fieldwork for 'rubber chicken' dinners. Shepard: I don't think they serve that dish at Palena. Gibbs: Never heard of it. Shepard: Why would you? It isn't take out. Gibbs: So, which of the tight sphincters is taking you out to dinner? Please, tell me it's not Fornell. (a pause) Shepard: CBS Early Show. They want background before I go on TV. Gibbs: Jen. Jen, you can't do that. Shepard: (incredulous) Excuse me? Gibbs: Ari is a chauvinist. He is taking out the women I work with before me. Shepard: Jethro. People who know don't believe Ari Aswari is the snper, and you haven't provided any evidence to prove them wrong. Gibbs: Have you ever doubted me? Shepard: Professionally? Never. Gibbs: Why are you doubting me now? Shepard: I have to establish a working relationship with these people. Gibbs: Who you gonna side with, Jen? Them, or me? Shepard: Give me a tough question. (Cut to workers installing new glass in the lab windows) (McGee wanders around and lets out an exasperated sigh) McGee: What is with this music? Abby: I'm playing it out of respect for Kate. McGee: I though you're from New Orleans? Abby: So? McGee: Well, don't they play jazz at funerals? Abby: Coming from the cemetery after the body has been buried. On the way to the cemetery, we play a dirge. Do you know what a dirge is, Timmy? McGee: Creepy music? Abby: Can you go back to the squad room and let me do my job? McGee: I can't. Abby: (suspicious) Why? McGee: Gibbs...Gibbs told me to watch over you. Abby: Oh. That is so sweet! (turns back to her computer, leaving McGee nonplussed) (Cut to squad room. Tony has multitudes of papers on his desk) Ziva: You're from a wealthy family. Dinozzo: Really. Ziva: Born and raised on the east coast. New England boarding school. Spent some time in the Midwest and Philadelphia. Dinozzo: How would you know that? (The elevator dings os. Ziva smiles secretively) (Jen and Gibbs enter from the elevator) (Ziva goes to greet Jen) Ziva: Shalom, Jen. Sheppard: Shalom. (they kiss each other's cheeks.) Ziva: Did I miss it? Sheppard: Yes, you did, but we didn't. (Tony goes over to Gibbs) Gibbs: You first. Dinozzo: Ziva David, Mossad. She's here to stop you from whacking Ari. Yours? Gibbs: Director Jenny Shepard. Same mission. Dinozzo: Which agency? Gibbs: Ours. Dinozzo: (thinks he's joking but soon realizes he's not) Yeah? (Ziva and Jen come over) Shepard: Special Agent Gibbs, Ziva David, Mossad. Ziva: Ziva. Director Shepard has spoken often of you. Gibbs: Really? Shepard: Ziva and I worked anti-trror1st ops since 9-11. You saw one today in MTAC. Gibbs: That was yours? Ziva: I only acquired the intel. (Phone rings) (Ziva reaches down) Ziva: 'Scuse me. (Gibbs watches her walk out. Tony stares at Jen.) Shepard: Yes, I really am the new NCIS director. Dinozzo: (nods) Yeah. (she turns and leaves) Wow. (Gibbs follows her, smacking Tony on the head in the process) Ow.... Good to have you back, Boss. (Gibbs walks along, and we hear Ziva talking in Hebrew on the phone.) Ziva: (in Hebrew) I have a relationship with the new NCIS director (the camera stops on Ziva) and may be able to convince her of your innocence. But not Special Agent Gibbs. He's a man with blood in his eyes. (Cut to Ari on the phone in his car) Ari: (Hebrew) Let me worry about Gibbs. Do you have the passport and money? (Cut back to Ziva) Ziva: (Hebrew) Yes. (Cut to Ari) Ari: (Hebrew) Use the drop. (Cut to Ziva) Ari: (Hebrew, over phone) Tonight. Ziva: (nods) (Hebrew) I want to see you. (Cut to Ari) Ari: (Hebrew) Too risky. Gibbs will have you followed. We'll meet in Paris after the mission is over. (Cut to Ziva) Ari: (Hebrew, over phone) I promise. Ziva: (Hebrew) Ari...I don't want to lose you, too. Ari: (Hebrew, over phone) You won't. (Cut to Ari) Ari: Shalom. (He terminates the call and the screen turns B&W) END ACT III (B&W: Ducky in the crosshairs) (Cut to Ziva. She terminates the call on her cell phone and looks out the window) (She turns back in and walks over to her pack, businesslike) Gibbs: Miss David: Whose get cut off if Ari is not a Mossad mole, but a trror1st? Ziva: Mine, I suppose, since I'm his control officer. Gibbs: Ah, they promote control officers young in Mossad. Ziva: They have to. The good ones are dad at your age. Gibbs: (looks up and smiles) Do you know how I located Ari's trror1st cell? Ziva: GPS fix off his encrypted cell phone. He wanted to you know the trrorists' location so you could stop the mssile instead of him, which would have necessitated blwing his cover. Gibbs: Only an NSA satellite can GPS an encrypted phone. Ari didn't know I had that asset. Ziva: You give him less credit than he gives you. Who hung up first? You or him? (Flashback) (Gibbs in MTAC, getting a lock on Ari's phone, both hanging up simultaneously) (End flashback) Ziva: Ari knows a fix takes only nineteen seconds. When Sharon visited Bush, Ari's Hamas cell kidnapped Agent Todd. Why didn't he kll her instead of freeing her to warn the Secret Service? Gibbs: (overlapping) I don't know. Why don't you arrange a meet and he can tell me? Ziva: Ari Aswari is a Mossad operative undercover in Hamas. He hasn't turned on us, or you. He didn't kll Agent Todd. Shepard: Gibbs, even if you're right, we owe them proof. Ziva: That's all we ask. Don't kll the wrong man. Gibbs: Like Mossad did in Norway? Ziva: (banging hand on desk) That stink cost us dearly. Gibbs: Not as dearly as the Palestinian waiter you klled. (a tense pause) Shepard: Ziva, assure your deputy director that even though Ari Aswari is a suspect, no action will be taken unless we have evidentiary proof. (Ziva nods, and Jen turns to Gibbs) Proof before action. (Gibbs stares at her before getting up) (Cut to lab. Abby test fires snper rfles. McGee sits at a desk, bored) McGee: You were my sweet superhero, Kate. (McGee's vision of Kate, in tight black leather, comes flying over his head and flips to land on her feet in front of him on the desk, looking like a Trinity out of The Matrix) Kate: (smiles) You're a naughty boy, Timmy. McGee: Oh my God, I'm becoming Tony. (Kate giggles. She does a back flip off the desk, her outfit changing in midair to become something more like a dominatrix, with cop hat and a whip.) McGee: Oh, wow! Abby: Wow what? McGee: (snapping out of reverie) Um, I, um, I-I, um... Abby: Stop 'ah-umming,' McGee, spit it out. McGee: I was, uh, thinking about Kate. Abby: Me, too. I kinda still feel like she's here, you know? (Goth-Kate smiles at Abby from a corner of the lab.) (Cut to McGee staring at Dominatrix-Kate wagging a finger at him) (McGee keeps walking in a daze and Abby smacks him on the head. He looks around guiltily.) (Cut to view of Tony and Gibbs in the elevator) Gibbs: I want you on Ziva's ass. Dinozzo: She's not really my type, Boss. (Gibbs smacks his head) Gibbs: To tail her. Dinozzo: I knew that. Gibbs: She's been in contact with Ari. That's the only way she could know I hung up on him. Dinozzo: Ooh. I don't want you to get pissed... Gibbs: I thought you wanted me pissed. Dinozzo: I did. It was kinda weird when you were being nice. Not that you're not nice, I mean, uh... Gibbs: Will you spit it out, Dinozzo? Dinozzo: What if Ziva's right and Ari knew you traced the call? Maybe he wasn't the snper. Gibbs: She is right. Ari wanted me to raid the warehouse. He set me up. And it cost Kate her life. (Gibbs gets off the elevator. Tony starts after him) Dinozzo: Is he a mole or a trror1st? Gibbs: Whatever works to play his game. Dinozzo: And if Ziva leads me to Ari? Gibbs: Shadow him and call me. Dinozzo: So you can bring him in? Gibbs: Yeah, so I can bring him in... (Gibbs walks away and the elevator doors close on Dinozzo) Gibbs: ...to autopsy. (Cut to Abby in the firearms lab) Abby: The FBI database gave me six wapon whose rifling patterns fit the bllts you recovered. (smacks McGee's hand away) I've been able to eliminate all but three: two SWAT wapon, the Tango-51 and Bravo-51, and this... Gibbs: (cutting her off) My old friend. The Marine M3-A1 snper rfle. (He picks it up reverently and then aims it at a wall) McGee: It looks sweet the way you hold that, Boss. Gibbs: Sweet? McGee: Uh, yeah, it's a, uh, expression, it means... Gibbs: Yeah, I know what it means, McGee. You think Ari looked sweet when he sht Kate? (he replaces the rfle) McGee: Of course not, Boss. Abby: Uh, my vote is for the Tango or Bravo-51. What d'you think, Gibbs? Gibbs: Your test runs show more gouging than Ari's. He was hand-loading and moly-coating. Abby: You are so good. McGee: Moly-coating? Abby: Yeah. Molybdenum disulfide. It's a lubricant. It decreases barrel wear and increases accuracy. Gibbs: McGee, run a trace on Tango and Bravo 51 sales, last six weeks, tri-state area. Check the Bravo first. McGee: On it, Boss. (he exits) Gibbs: Any prints on the brass? Abby: No. Is your gut telling you something? Gibbs: Yeah. I need coffee. Abby: No, Gibbs. Come on. This isn't just another investigation. Todd was your agent, but Kate was my friend, so can you stop it with the John Wayne stare and tell me what your gut says? Gibbs: (overlapping) What don't I believe in, Abby? Abby: UFOs, mystics, coincidence, saying you're sorry, excuses, I could go on all night. Gibbs: As a Marine snper, I used hand-loaded Lapua.308, boattail, full metal jacket, moly-coated bllts. (a pause) Abby: Gibbs... Gibbs: Know what a snper calls a Bravo-51? Abby: No. Gibbs: A 'Kate.' (He leaves, and Abby stares after him solemnly) (Cut to a black man leaving a pharmacy carrying a paper bag.) (He runs across the street and gets into his car) (Once inside, he dumps some pills into his hand and takes them.) (A hand reaches out from the back seat and clamps onto his left shoulder. He jerks forward in pain. A gn is now pointed at his head. Recovering, he looks in the rearview mirror, and sees Ari reflected in it. This is Gerald, Ducky's former lab assistant, whom Ari sht in the shoulder.) (Flashback) (Ari sh*ting Gerald in the shoulder at the NCIS autopsy room) (End flashback) Ari: My shoulder hurts when it rains, too, Gerald. (Cut to Ducky staring at Kate's body in autopsy) Ducky: Good night, Kate. (He puts the sheet over her head and slides her into the refrigeration chamber) (A phone rings. Ducky answers) Ducky: Autopsy (Cut to Gerald's car. Ari still has the gn to his head.) Gerald: Hello, Dr. Mallard. (Cut to autopsy) Ducky: Gerald! How are you, my dear fellow? (Cut to car) Gerald: I've been better. (Cut to autopsy) Ducky: Oh, what's wrong? Ari: (over phone) He's having flashbacks. (Ducky freezes at the voice) Ducky: Oh... who are you? Ari: (over phone) Oh, I'm hurt. You don't recognize my voice? Ducky: (realizing) You bastard. (Cut to car) Ari: (laughs) You do remember me. (Cut to autopsy) Ducky: If you harm Gerald. Ari: (over phone) I have no intention of harming Gerald. (cut to car) I think one ruined shoulder is enough. It certainly is for me. (he pats Gerald's shoulder, causing him to wince again). Ducky: (over phone) What do you want? Ari: A professional courtesy. One doctor to another. (Cut to autopsy) Ducky: Yes, well, I'd be most willing to provide a free autopsy. (Cut to car) Ari: (laughs) Dr. Mallard, I want to prove I didn't kll Caitlin. (Cut to autopsy) Ducky: By taking Gerald hostage? Ari: (over phone) Gerald is free to go if you listen to my side of this tragedy. Ducky: I'm listening. (Cut to car) Ari: It's a long story, and I don't want to have somebody trace this call. Ducky: (over phone) Well, no one is here but me. (cut to autopsy) And Caitlin. Ari: (over phone) It must have been a difficult autopsy for you. (cut to car) I'm truly sorry, doctor. (Cut to autopsy) Ducky: Oh, get on with it. Ari: (over phone) You'll meet me alone. Ducky: What happens to Gerald? (Cut to car) Ari: Come alone, and you can exchange places. Gerald: Doctor, don't come, he'll kll you! (Cut to autopsy) Ari: (on phone) Learn to trust, Gerald. (cut to car) I may have sht you in the shoulder, (cut to autopsy) but I've never lied to you. Doctor? Ducky: You have my word. (cut to car) Ari: Thank you. (cut to autopsy and Ducky's reaction) (Cut to Gibbs in the squad room) Kate: Reevaluating your convictions? How many time did you tell me 'there's no such thing as a coincidence?' Shepard: Jethro. I know it's been a difficult day for both of us. Gibbs: That's what my DI used to say. Never believed him. (she starts to leave.) Jen.You going to dinner with CBS? Shepard: I am. Gibbs: Don't do that interview. Please. Shepard: (with a slight nod) I'll see if I can delay it a few days. Gibbs: Good. Shepard: Good night, Jethro. (turns to leave) Gibbs: Night. (Shepard summons the elevator. The doors open on Ducky.) Shepard: Ducky! How nice to see you again! Ducky: And you. Congratulations. (cut to Gibbs) Shepard: Going home? Ducky: Uh, yeah. Gibbs: Ducky. (he dashes for the elevator, but the doors close before he reaches it) (cut to Gerald's car) Ari: So, are you back at work, Gerald? Gerald: Next week. Ari: I've always found that work is the best... (distance sht of street. a pair of headlights approaches) (Ari smiles) (A vintage car pulls up on the opposite side of the street.) Ari: A vintage Morgan. How Ducky. Flash your lights. (Gerald does so, and we see the effect from the outside) (Ducky exits his car) Ari: Roll down your window. (Gerald complies) Ari: Now, wait in the good doctor's car while we talk. (Gerald gets out of the car slowly as Ducky walks towards it.) (Aerial sh*t of the two walking towards each other) (Crosshairs: Ducky walking towards the crosshairs. The screen turns B&W) TO BE CONTINUED...	{"type": "series", "show": "NCIS", "episode": "03x01 - k*ll Ari (Part I)"}	foreverdreaming
BLACK SCREEN: Previously On NCIS GIBBS: (V.O.) Previously on NCIS. MUSIC IN: EXT. ROOFTOP - DAY (BEGIN FLASHBACK SCENES) ARI: Sorry, Caitlin. (SCENE CUT) GIBBS: Ari! (SCENE CUT) TONY: I found Ari's snper's nest, Boss. Didn't police his brass. (SCENE CUT) KATE: I'm dad now, Ducky. Shouldn't be. I could have klled Ari right here. (SCENE CUT) GIBBS: Are you okay? ABBY: Yeah. (SCENE CUT) GIBBS: His sniping Abby means he's after my people. (SCENE CUT) MORROW: I've been offered a Deputy Director's position with Homeland Security. GIBBS: Well who will be replacing you, Sir? SHEPARD: Hello, Jethro. (SCENE CUT) SHEPARD: On the job it is Director Shepard or Ma'am. (SCENE CUT) ZIVA: I'm here to see Special Agent Gibbs. (SCENE CUT) GIBBS: You first. TONY: Ziva David. Mossad. She's here to stop you from whacking Ari. GIBBS: Director Jenny Sheppard, same mission. (SCENE CUT) ZIVA: Ari Haswari is a Mossad operative undercover in Hamas. He hasn't turned on us or you. (SCENE CUT) ARI: (IN HEBREW) Do you have the passport and money? (SCENE CUT) ZIVA: (IN HEBREW) Yes. (SCENE CUT) ARI: (IN HEBREW) Use the drop. (SCENE CUT) ARI: (INTO PHONE) Doctor Mallard, I want to prove I didn't kll Caitlin. (SCENE CUT) DUCKY: (INTO PHONE) By taking Gerald hostage? ARI: (V.O./FILTERED) Gerald is free to go. (SCENE CUT) ARI: (INTO PHONE) Come alone, and you can exchange places. (MUSIC OVER ACTION/DUCKY WALKS IN THE STREET) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: EXT. STREET - FLASHBACK "kll ARI (PART II)" GERALD: You shouldn't have come, Doctor. DUCKY: Couldn't let the bastard put a bllet in your good shoulder or you'd never return to work. Do you have your cell phone? GERALD: Ari took it. DUCKY: Keep walking. Don't turn back until you're behind the wheel. Where is Ari? GERALD: In the back seat. DUCKY: Well, when I reach your car, I'll lean in through the open window. That's your cue to drive off, fast! GERALD: Doctor Mallard... DUCKY: Go straight to NCIS. Tell Gibbs everything that's happened. CUT TO: INT. SQUAD ROOM - NIGHT DUCKY: (RECORDED VOICE) You've reached Doctor Donald Mallard. Please leave a message and I'll get back to you as soon as I can. (SFX: BEEP TONE) GIBBS: (INTO PHONE) I said no one was to leave the building! ABBY: (INTO PHONE) Ducky, please call, okay? We're really worried-- GIBBS: (LOUDLY INTO PHONE) No one includes you, Doctor Mallard! ABBY: (INTO PHONE) We're worried including Gibbs.... or he wouldn't be yelling. (TO GIBBS) Look Gibbs, it's not Ducky's fault, okay? He probably did Kate's autopsy on auto pilot and then just drove himself home the same way. MCGEE: Boss! An outside call came into autopsy twenty three minutes ago. I'm tracing the number! CUT TO: EXT. STREET - NIGHT (MUSIC OVER ACTION/GERALD RUSHES TO THE MORGAN/ DUCKY WALKS TO ARI'S CAR) (GERALD CLIMBS IN AND OUT OF THE CAR) ARI: You look surprised. DUCKY: I expected to be sht. ARI: Doctor, please. I would never harm a fellow physician. (MUSIC OVER ACTION/GERALD ATTEMPTS TO DRIVE THE MORGAN) DUCKY: (SHOUTS) Use the clutch! Good God, man!! Use the clutch! You're stripping the gears!(SFX: GEARS GRINDING B.G.) ARI: This is too painful, Doctor. DUCKY: (SHOUTS) Gerald, turn it off! ARI: Obviously Gerald does not have an intimate relationship with a standard transmission. DUCKY: Unbelievable. ARI: The price of growing up in America. That was so unnecessary, Doctor. Gerald is free to leave... in his own car. MUSICAL BRIDGE TO: INT. SQUAD ROOM - NIGHT MCGEE: Boss, that call came from Gerald Jackson's cell phone! ABBY: I'd almost forgot about Gerald. MCGEE: He's been in rehab a year. ABBY: Maybe he heard about Kate and he called Ducky. MCGEE: They're in a pub somewhere consoling each other. ABBY: Yes! GIBBS: I don't like it. ABBY: Why? MCGEE: (OVERLAP) Why? GIBBS: I don't need a reason why! CUT TO: EXT. STREET - NIGHT ARI: Did you buy it in such pristine condition? DUCKY: God, no. The frame had severe termite damage. ARI: That's right. The Morgan has a wood frame. DUCKY: Mm-hmm. The top was in rags. The body dented. The rocker panels rusted out. It was a disgrace. ARI: Who did the restoration? DUCKY: I did. ARI: Of course you did. DUCKY: Do you doubt me? ARI: Not at all, Doctor. I was thinking of the irony. That hands so skilled at dissecting the dad are also capable of restoring life... at least to a machine. DUCKY: What do you want, Ari? ARI: A test drive. (PHONE RINGS) ARI: Now who at NCIS could be calling Gerald at this hour? Hmm? Oh well... Gerald is sure to arrive there shortly. Doctor? Oh, your cell phone. Now buckle up, Doctor. It's a dangerous night. (SFX: CAR ENGINE STARTS) CUT TO: INT. SQUAD ROOM - NIGHT MCGEE: I'm getting voice mail. ABBY: They probably can't hear their phones because they're in a pub. MCGEE: Do you want to leave a message? GIBBS: No. Get a GPS fix.(bat) Snap it up, McGee! MCGEE: One second, Boss. Got it. GIBBS: Georgetown. Olive and Twenty-ninth. I know that street. That's mostly residential. Locate Ducky's cell. ABBY: See. They're together. GIBBS: There's no pub there. ABBY: Well maybe Gerald lives there. MCGEE: That's negative. He lives on Peabody. ABBY: So they're parked. They're talking. MCGEE: Want me to go with you, Boss? GIBBS: No. Tony's out. Stay here with Abby. ABBY: For nobody leaving the building, there are a lot of people leaving the building. CUT TO: INT. SWIMMING POOL - NIGHT (MUSIC PLAYS B.G.) KATE: Why don't you visualize her naked? Does she intimidate you? TONY: A woman hasn't been born yet who can intimidate Anthony DiNozzo. KATE: You're forgetting your mother. TONY: Mothers don't count. KATE: And that lawyer. Marla? TONY: Divorce attorney. Worse than mothers. KATE: Well, Ziva's not your mother. She's not a divorce lawyer. She definitely intimidates you. TONY: Does not. KATE: Does too. TONY: Does not. KATE: Does too. CUT TO: EXT. GEORGETOWN STREET - NIGHT (SFX: RAIN FALLING B.G.) GIBBS: Okay, where are they now?(BEGIN TELEPHONE INTERCUTS) MCGEE: (V.O./FILTERED) Same place, Boss. (SCENE CUT) MCGEE: (INTO PHONE) Olive and Twenty ninth. GIBBS: (INTO PHONE) Get a fix on my cell. (SCENE CUT) MCGEE: (INTO PHONE) Okay. (SCENE CUT) MCGEE: (V.O./FILTERED) You're right on top of them! GIBBS: (INTO PHONE) Damn it, McGee! They are not here! MCGEE: (V.O./FILTERED) They have to be, Boss. (SCENE CUT) ABBY: (INTO PHONE) Gibbs. Is there a pub? GIBBS: (V.O./FILTERED) No! (SCENE CUT) GIBBS: (INTO PHONE) There is no pub! No people - there are no cars! (SCENE CUT) ABBY: (INTO PHONE) Okay, I was just checking. (SCENE CUT) GIBBS: (INTO PHONE) How accurate is this fix, McGee? MCGEE: (V.O./FILTERED) Within twenty five meters. (MUSIC OVER ACTION/ KATE: It's going to happen again, isn't it? Ducky's going to take a bllet for you. GIBBS: He won't kll Ducky. KATE: Why not? Because you couldn't live with the guilt? Maybe Ari knows that. Maybe that's his plan. Maybe the only way to save Ducky, Abby, and McGee is to kll yourself. (MUSIC OUT) MUSIC IN: EXT. PARK - NIGHT (SFX: TELEPHONE BEEP TONES/ CELL PHONE RING TONE) CUT TO: INT. SQUAD ROOM - NIGHT (PHONE RINGS) MCGEE: (INTO PHONE) Special Agent McGee.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) I found Ducky and Gerald's cell phone in the park. (SCENE CUT) MCGEE: (INTO PHONE) Why would they leave their cell phones in the park? GIBBS: (V.O./FILTERED) They wouldn't McGee! (SCENE CUT) MCGEE: (INTO PHONE) Do you want me to come down there? GIBBS: (V.O./FILTERED) If I wanted you to.... (SCENE CUT) GIBBS: (INTO PHONE) ... come down here, I would have told you so. Put a BOLO out on Ducky's Morgan. Get his license plate from his file. (SCENE CUT) ABBY: (INTO PHONE) Gibbs, Ari has Gerald and Ducky. (SCENE CUT) GIBBS: (INTO PHONE) They're not dad, Abs. (SCENE CUT) ABBY: (INTO PHONE) How do you know? (SCENE CUT) GIBBS: (INTO PHONE) Because Ari dumped their cell phones in the park, not their bodies. (SCENE CUT) MCGEE: (INTO PHONE) Ah... Boss? Gerald's here. GERALD: Ari's got.... (SCENE CUT) GERALD: (V.O./FILTERED) ...Doctor Mallard. (SCENE CUT) GIBBS: (INTO PHONE) How'd you get away?! GERALD: (V.O./FILTERED) I didn't. (SCENE CUT) GERALD: (INTO PHONE) Ari let me go. (END TELEPHONE INTERCUTS) CUT TO: INT. SWIMMING POOL HOUSE - NIGHT (MUSIC OVER ACTION/TONY SEARCHES THE POCKET) DANA: Excuse me. May I? TONY: You certainly may. (DOOR OPENS/ CLOSES) CUT TO: INT. NCIS SQUAD ROOM - NIGHT GERALD: I've never driven a stick. ABBY: Are you serious? MCGEE: What? You can drive a stick? ABBY: Yeah, since I was like ten. GERALD: What were you driving when you were ten? ABBY: A red forty-seven Ford half-ton pickup with four on the floor and Bubba riding gn. MCGEE: Bubba? ABBY: Ah, best damn con dog in Jefferson Parish. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) (BEGIN TELEPHONE INTERCUTS) GIBBS: (INTO PHONE) I don't believe in coincidences, Tony. (SCENE CUT) TONY: (INTO PHONE) I know, Boss. (SCENE CUT) TONY: (V.O./FILTERED/MUFFLED) You've bat that into me. GIBBS: (INTO PHONE) Haven't I bat that into you? (SCENE CUT) TONY: (INTO PHONE) That's what I said. GIBBS: (V.O./FILTERED) What did you say? TONY: (INTO PHONE) I said the reception sucks! (SCENE CUT) GIBBS: (INTO PHONE) Stay with them. I'm on my way. (SCENE CUT) TONY: (INTO PHONE) What if they split up? (SCENE CUT) GIBBS: (INTO PHONE) What about your gut? (SCENE CUT) TONY: (INTO PHONE) It wants a pizza. (END TELEPHONE INTERCUTS) CUT TO: INT. SQUAD ROOM - NIGHT GIBBS: Oh, god. What do we have? MCGEE: Ari picked up Gerald to force Ducky into a meet. GIBBS: You warn him? GERALD: I did. But you know Doctor Mallard. He came anyway. GIBBS: It's not your fault, Gerald. Ari's the bastard. Ducky made the decision to go, not you. Debrief him. Write it up. I'll be with Tony at the Embassy Hotel. ABBY: Um, Tony's at the Embasero. GIBBS: Why did he say the Embassy? ABBY: Cell phone garble. GIBBS: All right, from now on everyone is using phonetics, like we did in the Corps. ABBY: Um... golf-India-bravo-bravo-sierra. Can I please go back to my lab? I'm flipping out here with nothing to do. GIBBS: Okay, but don't leave... ABBY: Don't leave the building. I know. Bravo. Yankee. Echo. (SFX: ELEVATOR DOORS SLIDE CLOSED) CUT TO: INT. POOL HOUSE - NIGHT DANA: Mind if I join you? ZIVA: One more lap and you'll have it all to yourself. DANA: How's the water? ZIVA: Lovely. Have a nice swim. DANA: Thank you.(MUSIC OVER ACTION/TONY TAKES PICTURES) (ZIVA WALKS FROM THE POOL HOUSE/TONY WATCHES DANA) TONY: (SOFTLY) They're switching robes.(TONY RUSHES TO THE ROBE AND SEARCHES THE POCKET) DANA: Hey! What are you doing? TONY: Going for a swim. DANA: There's a locker room. TONY: I'm fine. DANA: Where's your swimsuit? TONY: Don't have one. DANA: I should call security. TONY: You didn't see the sign. DANA: What sign? TONY: I must have been blocking it. Uh... remember I was waiting outside and you wanted to come in? DANA: Oh, I remember. TONY: The Hackensack Nudist Society. From ten twenty seven until eleven fifty one the pool is ours. And it's our third annual convention. Here's Agnes and Agnew right now. He's our President and Agnes is our social secretary. Hey guys. You look funny with clothes on. DANA: Inventive. Funny even. But I'm married. TONY: So am I!(DOOR OPENS/ CLOSES) CUT TO: EXT. STREET - NIGHT TONY: (INTO PHONE) Boss, can you hear me? GIBBS: (V.O./FILTERED) Across the street. TONY: (INTO PHONE) Boss? GIBBS: (V.O./FILTERED) Yeah! TONY: (INTO PHONE) Gotcha. CUT TO: INT. CAR - NIGHT TONY: Ziva slipped a phony French passport and some cash (SNIFFS) to the woman with the Star of David (SNIFFS) I told you about. I love you, Boss. GIBBS: How do you know the passport's a phony? TONY: Ari's photo, but not his name? GIBBS: What name's he using? TONY: Aren't you curious to know how I got it? GIBBS: I assume you improvised like a good agent should. TONY: But what an improv! I swear to God I could get a gig on SNL. Okay, dig this. I pretend like I'm this real goofy guy trying to get-- GIBBS: You pretended? TONY: That hurt, boss. GIBBS: What's the name? TONY: Well.... GIBBS: The name? TONY: René Saurel. (SPELLS) S.A.U.R.E.L. GIBBS: Description? TONY: All I saw was the name and the photo. GIBBS: The woman? TONY: About five foot nine, dark hair, blue and white jogging outfit. Big gym bag. Real pretty girl. Looked enough like Ziva to be her sister. Real pretty. GIBBS: Maybe she is. Mossad's like the Mafia. One big happy family. (INTO PHONE) Hey, McGee. I've got a passport alert. Ari is traveling with a French passport under an alias, René Saurel. Sierra. Alpha. Uniform. Romeo. Echo. Lima. MCGEE: (V.O./FILTERED) Okay, what alert category? GIBBS: (INTO PHONE) Terrorism! MCGEE: (V.O./FILTERED) On it. TONY: That ought to get Custom's attention. GIBBS: Well, let's make sure he doesn't get that far. TONY: Boss, that's her. GIBBS: Stay with Ziva. TONY: What if this girl's meeting Ari? I mean, you're going to need backup. Let me rephrase that. GIBBS: Out! TONY: (V.O.) Thanks for the pizza, boss! GIBBS: Thank the night shift. I swiped it from them. CUT TO: EXT. STREET - NIGHT (MUSIC OVER ACTION/GIBBS FOLLOWS THE TAXI CAB) (GIBBS BRAKES TO A STOP) (SFX: CAR TIRES SCREECH) GIBBS: (SHOUTS) Ari! Get out, Ari! DUCKY: Good grief, Jethro. Put that wapon down. I've had enough excitement for tonight. Ari abducts me. Gerald strips my gears. And now you play chicken on a wet street. GIBBS: Where's Ari? DUCKY: Well gone I imagine. We were parked about ... well, a ways back. He received a cell phone call and then told me to drive down the street for ten minutes. GIBBS: (INTO PHONE) McGee! Congress Cab number seventeen picked up a female fare at the Embasero Hotel ten minutes ago. If he's en route, I need his twenty. If he's dropped his fare, then get me an address. And take the BOLO off Ducky's Morgan. He's safe. DUCKY: Our paths didn't cross by accident. GIBBS: Ari's cell call came from that woman in that cab I was tailing. DUCKY: He sent me down this street so that you would run into me. GIBBS: Yeah! A cab keeps going. Picks him up. They're gone! DUCKY: Ari abducts me to get you off her tail. GIBBS: Maybe. What'd you talk about? DUCKY: Well, my Morgan for a while. He was surprisingly knowledgeable. Then Edinburgh Medical School. Yeah, we were both alumni. A few decades apart... GIBBS: Anything important, Ducky? DUCKY: He swore he didn't kll Caitlin. Made a very logical and passionate defense. GIBBS: You believe him? DUCKY: He was very persuasive. Said he knows you'll never believe him. GIBBS: He's right about that. DUCKY: (OVERLAP) And that it's a shame that one of you has to die. He's arrogantly confident that it won't be him. But said on the off chance that it is, to keep looking for Caitlin's kller. GIBBS: He's a slick bastard, Duck. But he's right. One of us is going to die. DUCKY: Jethro! Jethro! (SFX: CAR TIRES SCREECH) (GIBBS DRIVES O.S.) (FADE OUT) MUSIC IN: EXT. HOTEL - RAINING ZIVA: Espresso? Take it. It's not a bribe. TONY: How long have you known I was... ZIVA: Following me? Since I left the Navy Yard. TONY: I don't think so. ZIVA: Blue sedan. You laid behind a white station wagon for a while, then a telephone van. You lost me at the traffic circle on... TONY: Okay. You knew. ZIVA: Take it. It's chilly out here. You shouldn't feel bad. I was trained by the best. TONY: You know, that's what I like about Mossad. ZIVA: Our training? TONY: Modesty. ZIVA: Um... there's a slice in there. (bat) Toda. TONY: Prego. ZIVA: I lost my little sister, Tali, in a Hamas su1c1de bmb. She was sixteen and the best of us. Tali had compassion. TONY: I'm sorry. ZIVA: After Tali's death I was like Gibbs. All I wanted was revenge. TONY: Is that why you joined Mossad? ZIVA: I was Mossad long before Tali's death. Old... TONY: Family tradition? ZIVA: Israeli sense of duty. TONY: So come on. Who recruited you? Your father? Uncle? Brother? Boyfriend? ZIVA: Aunt. Sister. Lesbian lover. TONY: You're good. You almost got me off the question. Almost. ZIVA: I volunteered. Laila Tov. TONY: Buona notte. CUT TO: INT. SQUAD ROOM - NIGHT (SFX: CABINET DRAWER OPENS) KATE: (V.O.) Why haven't you come down to see me yet? (ON CAMERA) If you don't peek at the back of my head, I'll just look like I'm asleep. (SIGHS) I'm so lonely I'd even welcome a visit from Tony. ABBY: McGee! Didn't Tony match the tire tracks to a Chevy Suburban? MCGEE: Uh, yeah. Bridgestone Duelers. Factory issue. Uh, what are you doing? ABBY: We caught a break. N-O-R orbited a new Keyhole. They're doing calibration tests using the seventh hole of the Norfolk Naval golf course. MCGEE: Why the seventh hole? ABBY: See? That's why I dig you, McGee. You think specific. Whatever the reason, we are grateful because that orbit took the Keyhole over Newport News! I inputted the warehouse coordinates... MCGEE: That's the rooftop! That's me... Tony, Gibbs, Kate. ABBY: Is that the building where Ari's snper nest was? MCGEE: It is. Ari's not there. ABBY: What do you expect? A video of him shting? MCGEE: Well, I was hoping. ABBY: Only in flicks, McGee. MCGEE: Okay, then why are you so excited? ABBY: I don't know. Maybe it's being alone with you on a rainy night. MCGEE: Abby... ABBY: Oh, look! Could it be? A black Chevy Suburban driving down the alleyway. MCGEE: Uh... can you read the license plate? ABBY: That depends more on angle than resolution. (SFX: KEYBOARDING) ABBY: It's not a dress, McGee. You can't look up it to see what you want. Ha! Yes! Yes! Yes! Yes! Yes! Oh, McGee! MCGEE: I'm sorry. I'm sorry. I've got to put a BOLO out on the plate. ABBY: We did good, huh? MCGEE: You did great. CUT TO: EXT. STREET - NIGHT (MUSIC OVER ACTION/GIBBS WATCHES THE APARTMENT) (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. Slow down, McGee. Take a breath. Start with the address. Seven, two, four, tango, Julia, alpha. Got it. (SFX: TELEPHONE BEEP TONES) (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) (PHONE RINGS) SHEPARD: (INTO PHONE) Shepard. GIBBS: (V.O./FILTERED) I need a partner for the night. You up for it? (SCENE CUT) GIBBS: (INTO PHONE) Jen? (SCENE CUT) SHEPARD: (INTO PHONE) Jethro, don't you know any other women? (SCENE CUT) GIBBS: (INTO PHONE) None I can call for backup. You didn't think I meant... (SCENE CUT) SHEPARD: (INTO PHONE) That's what you have a whole team of agents for. (SCENE CUT) GIBBS: (INTO PHONE) Well, McGee's on protection duty with Abby. (SCENE CUT) GIBBS: (V.O./FILTERED) DiNozzo's tailing Ziva. And since I lost... SHEPARD: (INTO PHONE) DiNozzo's what? (SCENE CUT) GIBBS: (INTO PHONE) He's tailing Ziva. SHEPARD: (V.O./FILTERED) Well where are you? GIBBS: (INTO PHONE) Outside! (END TELEPHONE INTERCUTS) CUT TO: INT. CAR - MOVING SHEPARD: What are the chances that Ari is still at this house? GIBBS: Zero. Ducky was a diversion so your friend Ziva could pass cash and documents to him. SHEPARD: Ziva's a control officer doing her job. You'd do the same if the roles were reversed. GIBBS: She's using you, Jen! SHEPARD: And I'm using her. A half dozen Hamas su1c1de bmb will not be blwing up our boys in Iraq because of Ziva. GIBBS: She's Metsada, isn't she? SHEPARD: The Mossad code name for that division is Komemiute. GIBBS: Whatever they name it, they specialize in assassinations. SHEPARD: Excuse me. Weren't you a Marine snper? GIBBS: If I have to go through your friend to get Ari, I will. SHEPARD: Ziva knows that. GIBBS: You really do like her. SHEPARD: She's damn good. And I owe her. She saved my life in Cairo two years ago. (PASSAGE OF TIME) SHEPARD: I can't believe this. I've been Director less than twenty four hours and I'm back on the street. GIBBS: It's great, isn't it? SHEPARD: No, Jethro. It isn't. GIBBS: Come on! Come on! You love it. SHEPARD: Truthfully? I'd rather be in bed. Sleeping. GIBBS: Remember that stake out in Marseille? August. Stuck in that attic with no air, photographing everyone who boarded that Lebanese trawler. That second night... that's the first time we-- SHEPARD: Okay. Shut up. GIBBS: Hand me the binocs. They're underneath the seat. SHEPARD: What? GIBBS: That's Ari's SUV. SHEPARD: (SHOUTS) sh*t! (SFX: gn/ GLASS BREAKS) GIBBS: Stay down! (SFX: gn) (SFX: GLASS BREAKS) (MUSIC OVER ACTION) (SFX: gn) SHEPARD: I expected Haswari to be older. GIBBS: He is. (MUSIC OUT) MUSIC IN: INT. AUTOPSY ROOM - DAY DUCKY: (V.O.) gn number three is located under the right clavicle. Appears to be a distant wound from the absence of sooting and stippling. gn number four is located six centimeters to the left. (ON CAMERA) Appears to be a distant wound from the absence of sooting and stippling. DISSOLVE TO: INT. NCIS GARAGE - NIGHT MCGEE: It is a miracle, Boss. He was sh*ting to kll her, not you. Just like he did with Kate and Abby. It's funny how he always went after women. (V.O.) Not that I'm implying he should have sht at you rather than... DISSOLVE TO: INT. LAB - NIGHT ABBY: (OVERLAP) You're not going to like this Gibbs. All the three oh eight full metal jacket rounds recovered from the shting came from this Bravo Fifty-One rfle dropped by the snper you sht last night. DISSOLVE TO: INT. SQUAD ROOM - NIGHT TONY: (OVERLAP) ...Two years ago. Mohamed Esfiri was a homegrown trror1st. Born in Cleveland. He was an ardent follower of radical Imam who promised martyrdom to all who died in the Jihad... DISSOLVE TO: INT. SQUAD - NIGHT SHEPARD: (OVERLAP) ... Since Miss Sciuto has confirmed that the snper rfle we recovered last night was the wapon used to mrder Special Agent Todd, and with no evidence to the contrary, it appears that Mohamed Esfiri was the snper. I believe it's safe for your team to go home, Gibbs. Special Agent Todd's funeral is in Indiana tomorrow afternoon. SecNav has offered us his private jet to fly us there. Go home. Get some rest. (ALL WALK O.S.) SHEPARD: What about you, Jethro? GIBBS: Mohamed didn't kll Kate. He didn't sht at Abby. SHEPARD: You are not infallible, Jethro, no matter what your gut is telling you. Ari isn't trying to kll you, but this obsession might. GIBBS: Hey, Jen? SHEPARD: What? GIBBS: Why did he only sh*t at your side of the car last night? SHEPARD: I suppose you were right. He was trying to kll women who work with you. GIBBS: How did he know you were in the car? I called you at the spur of the moment. I parked in the dark. He couldn't see through our windshield even with a scope. That guy was sent to die, not to kll. SHEPARD: No. No one's going to do that. GIBBS: Come on, Jen. Hamas su1c1de bmb blow themselves up all the time. It doesn't matter how a martyr dies as long as it's for the Jihad. Mohamed last night - he died for rivers of honey and seventy-two virgins. SHEPARD: I'm not saying you're right, but if you are, how do we prove it?(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) GIBBS: We? Did you just join my side? SHEPARD: Jethro, I've always been on your side. What do we do? GIBBS: kll Ari before he kills me. (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) CUT TO: INT. AUTOPSY ROOM - NIGHT (MUSIC OVER ACTION/DRAWER SLIDES OPEN/ MCGEE UNCOVERS KATE) TONY: I told you she looked good. Probie wouldn't believe me, Kate. He thought you'd look like the Return of the Living dad. MCGEE: I did not. TONY: Don't lie to the dad, McGee. Not nice. MCGEE: I was a little afraid. TONY: Kid was terrified. But it took a lot of guts to come down here... alone. Showed how much he cared for you. MCGEE: I really did like you, Kate.... a lot.(DOOR CLOSES) CUT TO: EXT. PARK - NIGHT (SFX: RAIN FALLING B.G.) FORNELL: It's raining, Gibbs. GIBBS: Uh-huh. FORNELL: You smell like a wet dog. GIBBS: Well, there was one here underneath the bench when I got here. I put him in the gazebo. FORNELL: Why aren't you in the gazebo? GIBBS: Dog smells like hell. FORNELL: So why didn't you leave him under... never mind. GIBBS: If I ask you something, Tobias, are you going to lie to me? FORNELL: Depends on the question. GIBBS: What's Ari Haswari's real mission here? FORNELL: I'm going to lie to you. Mossad lies to the CIA. They lie to us. I lie to you. I don't know who you lie to, being the bottom of the armed Fed Food Chain and not married. GIBBS: So you don't know. FORNELL: Correct. I do not know. You ever go to the movies? GIBBS: I build a boat. FORNELL: Well, you and that dog are going to need one. Why don't you get out of the rain, Jethro, and go watch a movie! GIBBS: You have a film in mind? FORNELL: It's not in theaters anymore. But you can rent a DVD. GIBBS: Sounds like a good idea. A good thing to do on a rainy afternoon. What's the name of this film? TONY: (V.O.) The Peacemaker. CUT TO: INT. SQUAD ROOM - DAY TONY: George Clooney, Nicole Kidman. Directed by Mimi Leder. Made it in ninety seven. It's a real action flick. Clooney and Kidman have to find a stolen nuclear wapon before it's used by trrorists. I can't believe you never saw it! ZIVA: Where is Gibbs? TONY: You know, that's the first question you asked me when we met. ZIVA: No. The first question was, were you having phone sex? SHEPARD: Ziva! Deputy Director David is on teleconference for you. TONY: Oooh, Deputy Director David? Wouldn't be daddy, would it? ZIVA: David is a common Israeli name. TONY: You didn't answer my question. TONY: Did they lose a nuke, Boss? GIBBS: According to the Deputy Director, Israel doesn't have nukes. TONY: Boss? GIBBS: They have a power plant in Dimona where a small amount of plutonium is missing. TONY: Hamas is making a bmb? GIBBS: They have a core. No detonator. Ari was to buy a Krytron trigger. He delivers it to the Hamas cell with the plutonium. TONY: Mossad grabs him. GIBBS: Only he's a little behind schedule. They're getting nervous. Deputy Director David is up there right now ordering Ziva to cooperate. TONY: He her daddy? GIBBS: No idea. I didn't ask. CUT TO: INT. LAB - NIGHT GIBBS: Do you know why Ari left his brass behind? ZIVA: You are a broken tape, Gibbs. TONY: Record. A broken record. GIBBS: A snper's brass is like signing your signature. That's why a snper always polices his brass. Lapua. Three oh eight casing. Boat-tail. Moly-coated full metal jacket bllet. ZIVA: That's what you sht as a Marine snper. At Mossad we use Sierra Six point five hollow points. GIBBS: How do you know what I sht, Miss David? SHEPARD: She profiled you for Ari. TONY: Not just the boss. That's how you knew where I was born and went to school. ZIVA: Ari's missions involved NCIS. As his controller, of course I did dossiers on everyone he might interact with. SHEPARD: It's S.O.P at Kumemiute. GIBBS: Director. Abs. Tony. Give me a minute alone with Miss David, please? (ALL WALK O.S.) GIBBS: You found out about my first wife and my daughter. ZIVA: Yes. I'm sorry. GIBBS: Then we know why Ari is sh*ting at women then, don't we? ZIVA: If he wanted you to know he is the snper, why didn't he use your rfle? An M-Forty? GIBBS: The Bravo Fifty-one he fired is called a "Kate!" ZIVA: I still don't believe Ari is the snper. What you have said should be investigated. GIBBS: Well, when the media gets wind of this, it's going to create a furor. ZIVA: Are you thrat to go to the media? GIBBS: No, not me. This could stay between Mossad and NCIS. ZIVA: In exchange for what? Setting up Ari for you to kll? GIBBS: No. Setting me up for Ari. And if I'm wrong about this, he won't show up. ZIVA: And if you're right? GIBBS: Then I'm counting on you to back me up. CUT TO: INT. BASEMENT - NIGHT ARI: Are you looking for this, Jethro? I want you to know I wish I hadn't had to sh*t Caitlin. GIBBS: Why did you? ARI: To cause you pain. GIBBS: I piss you off that much? ARI: Not you. My father. You have the misfortune of reminding me of the bastard. GIBBS: Ah, he didn't marry your mother, huh? ARI: That's what makes me a bastard, not him. From the moment of my birth, he groomed me to be one thing... his mole in Hamas. He sent me to Edinburgh to become a doctor so I could work in the Gaza camps alongside my mother. When he had her klled, I had no trouble joining the Iz Adin al-Kassam. GIBBS: You don't really believe your father had your mother klled? ARI: It was a retaliatory Israeli strike on a day I was in Tel Aviv... visiting him. After decades of planning, he had his mole in Hamas. He never knew how much I hated him. I wish I could see his face when he realizes he created not a mole but a monster eager to strike at the heart of Mossad and Israel. GIBBS: Yeah, I almost feel sorry for you. ARI: And I for you. When Ziva told me you were placing flowers on the roof where Caitlin died, I couldn't believe it. Such a romantic touch. Almost too good to pass up. Almost. GIBBS: Why did you? ARI: I need you to commit su1c1de with your own rfle. You never did give me enough credit in our game. I knew it was a trap before Ziva told me you asked her to cover you. You'd never trust Ziva. And you need to kll me to taste the sweetness of revenge. GIBBS: I've klled enough men in my life, Ari. It's going to be just sweet watching you die. ARI: Sorry to spoil your-- (SFX: g*n) (ARI FALLS TO THE GROUND) GIBBS: His father is a Deputy Director in Mossad? ZIVA: Yes. GIBBS: Not David? ZIVA: Yes. He's my half brother.(GIBBS WALKS O.S.) (ZIVA SINGS IN HEBREW) MUSICAL BRIDGE TO: EXT. CEMETERY - DAY (INTERCUT FLASHBACK SCENES OF KATE/TONY/ABBY/MCGEE) GIBBS: I was afraid I wasn't going to make it. SHEPARD: Ari? GIBBS: Ziva's escorting his body to Tel Aviv. (ALL PLACE FLOWERS ON THE COFFIN) KATE: You're late for my funeral, Gibbs. GIBBS: Sorry, Kate. ABBY: Do you mind if I play something for Kate? (JAZZ MUSIC PLAYS) (MUSIC OVER ACTION/ALL WALK FROM THE GRAVE) (CUT TO BLACK) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x02 - k*ll Ari (Part II)"}	foreverdreaming
MUSIC IN: EXT. FARM HOUSE - DAY (SFX: VAN DOORS OPEN) (MUSIC OVER ACTION/KYLE WALKS FROM THE VAN TO THE FARM HOUSE) (DOOR OPENS) KYLE: Up there. (MUSIC OVER ACTION/MCGRAW CLIMBS THE LADDER TO THE LOFT) (SFX: PIGEONS B.G.) KELLEHER: Tell me this has not been just a total waste of my time, Trooper. MCGRAW: There's something up here, Sir. I'm just not exactly sure what it is. KELLEHER: You promised us bodies. KYLE: One thing at a time, Warden. First we start with my souvenirs. KELLEHER: Souvenirs? KYLE: When I was sick... they were my favorite sexual organs. Tongues.(SFX: GLASS BREAKS) KELLEHER: Where are the girls? KYLE: Close. But you have to give me a little something in return for them, Sam. KELLEHER: The only thing you're going to get from me is your last meal. Take that animal back to death row. KYLE: What about the victim's families? I'm their last chance for closure. KELLEHER: What is it you want? KYLE: Not much. Just the man who put me in these. NCIS Special Agent Leroy Jethro Gibbs (FADE OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY CASSIDY: (V.O.) I will never forget the day that Gibbs caught this psycho. "MIND GAMES" TONY: You knew Gibbs back then? CASSIDY: No! I was a junior at Georgetown and for two years, every woman in D.C. was afraid to go out at night. TONY: That must have been tough. CASSIDY: Yeah. You have no idea. I actually owe Gibbs for the first full night of sleep I got in college. TONY: Hmm. I meant dating. CASSIDY: Yes. Yes. Dating was tough. TONY: Need any help with that now, Paula? CASSIDY: No, Tony. Thank you. I've been there. I've done that. TONY: Ha ha! Ouch! CASSIDY: Your problem with women is where you're focused. TONY: Where? CASSIDY: Mmm... here. It's a mirror. TONY: Quick question. The pink ones, do they taste like Strawberry Starburst? I thought you said you weren't seeing anyone! CASSIDY: I'm not. TONY: Hmm? CASSIDY: It's for my complexion. TONY: Complexion got a name? CASSIDY: Tony, you so don't want to go there. TONY: Just tell me it's not another agent because I don't really think I could-- (F/X: CASSIDY SLAMS TONY TO THE DESK) (SFX: TONY SHOUTS/SQUEALS) CASSIDY: His name's Bob, and he's a lawyer. TONY: What a coincidence. I hate lawyers. CASSIDY: I know. So do I. That's why it's (WHISPERS) purely a sexual relationship. TONY: Well, what would that make me? CASSIDY: A big mistake. If you do not give me by birth control pills, I'm going to break your arm. MCGEE: I've got that coffee. CASSIDY: Have you been there long? MCGEE: Uh, long enough to say "No Ma'am," Agent Cassidy. CASSIDY: Okay. Good answer. (TO TONY) Thank you. TONY: I let her do that. CASSIDY: Thank you. MCGEE: Who's that? CASSIDY: Kyle Boone. TONY: He's an infamous serial kller, Probie. Terrorized the District in the nineties. Come on. CASSIDY: Twenty two women went missing and five bodies were found. TONY: Guy only made one mistake. CASSIDY: He klled a Petty Officer. MCGEE: Gibbs caught him? TONY: He's scheduled for a Government-sanctioned dirt nap on Saturday. CASSIDY: He wants to talk to Gibbs before they flip the switch. MCGEE: Why? TONY: He claims he's going to tell him where the bodies are. GIBBS: What the hell is that doing on my screen? MCGEE: Uh... I didn't put it there, Boss. GIBBS: Who did, McGee? TONY: Probie, let me handle this. Boss, she did it. CASSIDY: We heard you were interviewing.... Kyle Boone, and we assumed we would be providing backup. GIBBS: You heard wrong, Cassidy. I'm not interviewing anyone. CASSIDY: Oh, well then you might want to let the Governor of Virginia know, since MTAC has him standing by waiting for your call. GIBBS: Find her a desk. CASSIDY: Is that one...? GIBBS: No, it's taken. (GIBBS WALKS O.S.) CASSIDY: A whole week of T.A.D. with Gibbs. I can smell the fun already. MCGEE: Well, it's been a tough month. TONY: Right now he pretty much hates everyone, Paula. Including himself. CUT TO: INT. MTAC ROOM - DAY NORIN: (ON MONITOR) I was told by your Director that you would be personally interviewing Kyle Boone this afternoon, Agent Gibbs. GIBBS: Director Shepard was misinformed, Governor. Talking to Kyle Boone would be a waste of time. NORIN: (ON MONITOR) Possibly. But if there's even a chance that he would reveal to you the location of his victims, we have to take it. GIBBS: I disagree, Sir. He's had ten years to think about it. Why the change of heart now? NORIN: (ON MONITOR) In my experience, men facing eminent death tend to re-evaluate the course of their lives. Most seek forgiveness. GIBBS: You trust me, Sir. Boone had a lot of interests. Forgiveness wasn't one of them. NORIN: (ON MONITOR) How can you be so sure? GIBBS: I spent five months interrogating him. NORIN: (ON MONITOR) That was a decade ago. People change. GIBBS: People, Sir - maybe. Not Kyle Boone. NORIN: (ON MONITOR) Are you refusing to meet with him? GIBBS: I'm refusing to entertain a homicidal maniac who tortured and klled twenty-two women, Sir. I have played that game before. NORIN: (ON MONITOR) And the hundreds of family members who lost a daughter, a sister, or a mother? What do I tell them? GIBBS: That no matter what Kyle Boone says in the next few days, come Saturday, Sir, you're going to make sure he fries. NORIN: (ON MONITOR) We all owe you a debt of gratitude for bringing him to justice, Agent Gibbs. But uh... you leave me little choice. I am sorry. CUT TO: INT. STAIRS - DAY NCIS TECH: Sir! We've got a high priority transmission coming through for you in MTAC. GIBBS: From whom? NCIS TECH: Secretary of the Navy. CUT TO: INT. SQUAD ROOM - DAY (SFX: CASSIDY'S CHAIR SLIPS LOWER) TONY: Well, look on the bright side. CASSIDY: What is the bright side? TONY: You're only here a week. CASSIDY: Why couldn't I sit at Kate's desk? TONY: Mostly because it's still Kate's desk. CASSIDY: She was a great agent. TONY: Yeah. CASSIDY: How are you handling it? TONY: Same way I handle everything. I try not to think about it. CASSIDY: And when that doesn't work? TONY: There's always junk food. CASSIDY: It doesn't sound very healthy, Tony. TONY: It's either that or I start building a boat in my basement. CASSIDY: Did you move from your apartment? TONY: No. Now you see my dilemma. CASSIDY: Hey, if you ever do want to talk about it, I'm here for you. Okay? TONY: You mean that? CASSIDY: Yes, of course I mean it. TONY: Okay. Well then let me ask you something. What's Bobby like in bed? CASSIDY: Oh, Kate was right. You are truly, truly pathetic, DiNozzo. MCGEE: Ah, you two might want to get busy. Gibbs is headed this way and he looks pissed. CASSIDY: Think he caved into the Governor? TONY: No way! MCGEE: No way! If Gibbs doesn't want to do something, he doesn't. TONY: No matter who's asking. (TO GIBBS) Where you going, Boss? GIBBS: Sussex State Prison to interview Kyle Boone. Be gone the rest of the day. (GIBBS WALKS O.S.) CASSIDY: Yep, you two sure have him pegged. CUT TO: INT. STATE PRISON - DAY KELLEHER: We moved Boone to Death Watch on Monday. That's when he decided he wanted to talk. We do things a little different here in Virginia. The condemned get a choice: lethal injection or death by electrocution. Boone is the first one to choose the chair. GIBBS: He deserves worse. O' NEILL: Special Agent Gibbs? I'm Adam O'Neill, Kyle Boone's attorney. I really appreciate your coming. I uh... I understand you're reluctant to, but I truly believe that my client's intentions are sincere here. GIBBS: The day I arrested your client, we found two human female tongues in his refrigerator. O' NEILL: I'm familiar with the case, Agent Gibbs. GIBBS: Really? Are you familiar with the names of his victims? O' NEILL: Look, I'm not here to talk about the past. I'm here trying to save a man's life. GIBBS: Boone wants a deal? O' NEILL: No. Mister Boone wants the chair for his crimes. I'm the one hoping to get him life in prison. GIBBS: Good luck with that. O' NEILL: Agent Gibbs, please! I'm just trying to do my job here. Maybe together we can both help the victims' families find some closure. GIBBS: Be there Saturday. You'll be able to see them get that. KELLEHER: Right this way, gentlemen. O' NEILL: Well actually, against my advice, Mister Boone has elected to meet with Agent Gibbs....alone. KELLEHER: There will be a guard out here if you need him. GIBBS: I won't. (SFX: BUZZER) (SFX: DOORS SLIDE CLOSED) CUT TO: INT. DEATH-WATCH CELL - DAY KYLE: Nice to see you again, Jethro. I wasn't sure if you'd come, but here you are. GIBBS: You've got two minutes. Start talking. KYLE: You know, you look almost the same. Except the hair. When did it go gray? GIBBS: Where are the bodies? KYLE: We'll get to that. There's just a few things I need to ask you first. I guess they showed you my souvenirs? GIBBS: There weren't twenty in that jar. KYLE: Your point? GIBBS: I always thought you were padding your count. KYLE: Ah. Baiting me? Denigrating my rep? Come on. You know that approach never worked on me, Jethro. GIBBS: A minute thirty eight. KYLE: Can't we just chat for a bit? Catch up? Hmm? How's the wife? She left you, didn't she? I tried to warn you about that. Women can't understand men like us. GIBBS: You've got what, Boone? Three days left? How does it feel? KYLE: I'm kind of terrified. Weird, considering my former activities. GIBBS: They say it can take up to four minutes to die in the chair. Me personally? I'm hoping it takes a lot longer. KYLE: You really have changed. The old Gibbs was never this abrupt. Did you remarry? GIBBS: You've got less than a minute. KYLE: Okay. Okay. Too personal. And what about NCIS Special Agent Caitlyn Todd? Can we talk about her? I saw her picture in The Post. They said she was sht by a trror1st. Did you cut back on the caffeine like I told you? GIBBS: See you Saturday. KYLE: Come on, Gibbs. I was just having some fun with you. (SFX: DOORS SLIDE OPEN) (SFX: BUZZER) KYLE: You can't leave. You're here because you're following orders like a good Marine. Right, gn? I'll tell you where they are. Where they all are. There's more than twenty-two, Jethro. Lots more. (FADE OUT) MUSIC IN: INT. SQUAD ROOM - DAY (SFX: ELEVATOR DOORS SLIDE OPEN) DUCKY: Where is he, Timothy? MCGEE: Uh who? DUCKY: Gibbs, damn it! (TO TONY) Hey! Do you even know the difference between good and bad cholesterol, Tony? TONY: No. But I'm assuming it has something to do with taste. DUCKY: Bad is what came back on your last blood test. (TO MCGEE) Dispose of this. TONY: Hey hey hey. That cost me sixteen bucks, that pizza. DUCKY: You'll thank me when you're my age. MCGEE: But you eat pizza all the time. DUCKY: Exactly. TONY: I don't really see the connection here. DUCKY: Well, of course you wouldn't. You're not a doctor. Where is Gibbs? TONY: Sussex State Prison. Interviewing Kyle Boone. DUCKY: He said he wasn't going. TONY: He wasn't. MCGEE: Until the SECNAV ordered him to. DUCKY: Who's with him? MCGEE: No one. DUCKY: Have you any idea the effect that psychopath had on Gibbs ten years ago? TONY: Considering how open Gibbs is about his personal life, uh... no. Not a clue. DUCKY: Yeah. He should not have gone alone. MCGEE: Well, Ducky, it's Gibbs. I'm sure he'll be fine. DUCKY: It's easy for you to say. You didn't have to live through this the last time. (PHONE RINGS) TONY: (INTO PHONE) DiNozzo. Where? Yeah, I got it, Boss. We're on our way. (TO CASSIDY) Cassidy, saddle up. Gibbs wants you in the field. Boone family farm. CASSIDY: He wants me? TONY: That's what he said! Let's roll! The difference between ten years ago and today, Ducky? We have Gibbs back. DUCKY: There's another difference, Tony. Ten years ago, Gibbs was a very different man. TONY: You mean he was actually meaner? DUCKY: Oh, quite the opposite. He was... he was a lot like you. CUT TO: EXT. FARMHOUSE - DAY TONY: What do we got?(SFX: CAR DOORS OPEN/ CLOSE) CASSIDY: I can save you time, Gibbs. My measurements are thirty-four... TONY: Twenty-six, thirty-four. A hundred and twenty pounds? I'm right, aren't I? CASSIDY: Did you weigh and measure me in my sleep? TONY: I'm a crime scene sketch expert. That's what I do. GIBBS: You'll do. CASSIDY: Gibbs, again. You have such a way of making a gal feel so special. GIBBS: Put this on. McGee? MCGEE: Yeah, Boss? GIBBS: You might want to wear kneepads. (SFX: VAN DOORS OPEN) MCGEE: Do we even have kneepads? TONY: Equipment inventory is Kate's job! You might want to ask-- (TONY WALKS O.S.) CASSIDY: Do you know what the hell we're doing? MCGEE: Following Gibbs' lead? CASSIDY: On what? MCGEE: Don't know. CASSIDY: You don't know and that doesn't bother you at all? MCGEE: You get used to it. CASSIDY: Yeah, that's what I'm afraid of.(SFX: DOORS CLOSE) CUT TO: INT. FARM HOUSE - DAY TONY: This place must have been gone over a dozen times, Boss. There's no way there's any bodies in here. GIBBS: I'm not looking for bodies, Tony. He was raised here by his uncle. His mother was a prosttute. She left town when he was twelve. TONY: Then what are we looking for? GIBBS: Proof. Boone swears it's here. The only place we didn't look is inside this chimney. CASSIDY: (V.O.) I think I got something. Ow! No. That's just a dad bird. MCGEE: Oh, that's disgusting. TONY: I'll bet this wasn't in the brochure when you signed up for NCIS, Probie. MCGEE: You know you were wrong earlier. TONY: About what? MCGEE: She weighs more than a buck twenty. CASSIDY: Oh! MCGEE: Ow! CASSIDY: Sorry. MCGEE: She did that on purpose. CASSIDY: (V.O.) Okay. Oh, no. I got it. It's right here by the flue. I got it! I'm coming down. MCGEE: Finally. You could have taken your boots - oh, geez! CASSIDY: My bad. Looks like a book. (CAMERA ANGLE CLOSE ON PHOTOS IN THE ALBUM) CASSIDY: There must be thirty pages there. TONY: More. MCGEE: What's carved into their backs? GIBBS: That's his calling card. CUT TO: INT. DEATH-WATCH OUTER CELL - DAY BRIGGS: Is something wrong? KYLE: This section on my mother, John, is better. But it still needs work. BRIGGS: I was trying to humanize her, Kyle. KYLE: Don't. (SFX: DOORS SLIDE OPEN) KYLE: Did you find it all right, Jethro? I guess you wouldn't be here if you didn't. I don't believe you've met my biographer, John Briggs. BRIGGS: Special Agent Gibbs, it is a pleasure. I've been trying to schedule an interview with you for months. KELLEHER: You're going to have to leave now, Briggs. BRIGGS: I've been granted special permission by the State of Virginia to be here, Warden. KELLEHER: Not anymore. GIBBS: The next time you see Boone, he'll have a thunderbolt sh*ting out of his ass. BRIGGS: Hey, I was... I was guaranteed full access for the next three days. GIBBS: The warden asked you to leave. Don't make him ask you again. KYLE: You'll have to excuse Agent Gibbs, John. He's finally gotten a glimpse into the world I've been telling him about. BRIGGS: The scrap book? You found his scrapbook? When will it be released? KELLEHER: Son, if you want to walk out of here under your own power, I suggest you leave now. (BRIGGS WALKS O.S.) (SFX: DOORS SLIDE OPEN) KYLE: John really is a wonderful writer. You know he spent years trying to understand me. Unfortunately, he just never seemed to measure up. GIBBS: To who? Your prosttute mom? Or your father? Some hick john with a few extra bucks in his pocket? KYLE: Actually, I was referring to you, Jethro. GIBBS: The show's over. Where is the dumping ground? KYLE: You show me my scrapbook one last time and I'll draw you a map even a Marine can follow. GIBBS: No. They've suffered enough. KYLE: Well, we're at an impasse. GIBBS: Are you going to keep playing this game with me, Boone? KYLE: I've never considered any of this a game, Jethro. You know that. GIBBS: Whatever. I'm changing the rules. KYLE: How so? GIBBS: I've seen your world. Now you're going to spend what's left of your miserable life in mine. (SFX: BUZZER/DOOR SLIDES OPEN) CUT TO: INT. NCIS GARAGE - NIGHT TONY: All right, listen up my little probationary field agents. You are about to witness the transfer of a maximum security prisoner to our humble facility. While he's here, he's our sole responsibility. (bat) Oh, I'm sorry. Am I boring you? CASSIDY: My god, does he ever stop? MCGEE: I'm just glad it's not me. CASSIDY: It's ten o'clock. It doesn't make sense bringing Boone here now. MCGEE: Gibbs is trying to put him on unfamiliar ground. Throw him off balance. CASSIDY: Because that worked so well ten years ago? What's different now? GIBBS: I am, Cassidy. TONY: Stand tall! Wake up, Probies! (SFX: GARAGE DOOR SLIDES OPEN) (SFX: VAN DOORS OPEN) KYLE: I knew I could count on you, Jethro. It's good to be home again. Yeah, good to be home. CUT TO: INT. SQUAD ROOM - DAY TONY: The guy's been impersonating a statue all night. According to the watch, he hasn't moved a muscle. CASSIDY: Yuck, he's creepy. When is Gibbs going to start his interrogation? TONY: When he's ready. CASSIDY: You might want to tell him to hurry. He's got less than forty-eight hours before Boone's scheduled to be excuted. TONY: I've got a better idea, Paula. Why don't you tell him? CASSIDY: (CHUCKLES) Because I'm not stupid. TONY: No. Of all the things you are, stupid definitely isn't one of them. CASSIDY: Thank you. Okay, what's that supposed to mean? TONY: Nothing! By the way, how's Bobert? CASSIDY: Why, are you jealous? TONY: Oh, of a lawyer? Give me a break. CASSIDY: He's very rich. TONY: Money isn't everything. CASSIDY: He's got season tickets to the Red Skins. Private sky box. TONY: I'm happy for him. CASSIDY: And I almost forgot... he drives a Ferrari. Red. TONY: Like Magnum. Well, that's nice. CASSIDY: Isn't it? TONY: You know what's even nicer? My current view. Victoria's Secret? Agent Cassidy. CASSIDY: Well, you enjoy it as long as you can, Agent DiNozzo, because that's as close as you're going to get. GIBBS: Cassidy? Check Boone's security detail. CASSIDY: You got it. TONY: I'll give her a hand with that. GIBBS: Wait. (CASSIDY WALKS O.S.) (GIBBS HITS TONY) TONY: What was that for? GIBBS: Letting her get to you. TONY: Boss, I was not letting her get - I won't let it happen again. Thanks. GIBBS: It's for Abby. Go find out how many victims she ID'd from Boone's scrapbook. (MUSIC UP AND OUT) MUSIC IN: INT. LAB - DAY ABBY: There were twenty nine women in the scrapbook, McGee. And as far as I can tell, they're in the order that they were klled. Now, Boone has admitted to klling twenty two, which matches with the photos in the files at the FBI center. MCGEE: Uh-huh. ABBY: Which would make you think that we'd be left with five Jane Does, but you'd be wrong. Because I know who the first victim was. You're not listening to a word I'm saying. I'm pregnant, McGee. Twins. Haven't told the father yet. It's Gibbs. I know it's wrong, but something about his silver hair just gets me all tingly inside. TONY: Excuse me for a second. I think I'm going to vomit. ABBY: I'm joking, Tony. Except for the part about Gibbs' hair. That is really hot. McGee is ignoring me again. TONY: Easily fixable. (TONY HITS MCGEE) MCGEE: What?! What'd I do? TONY: Stop ignoring Abby. She's sensitive. MCGEE: I'm sorry. I was concentrating. I think that I know how we can find Boone's victims without Gibbs having to talk to him. There are distinctive geographical and man-made features in several of these pictures. There's a stream... and what may be a bridge. Up here... appears to be a power line. TONY: Or some dirt on the picture. MCGEE: If I can make a land plot, create scale by computing the distances between these points, then we can-- TONY: Okay, streams and power lines? It would take years searching just one county, McGee. Never mind a state. MCGEE: Yeah, for us, Tony. But not for a computer. ABBY: Satellite imagery? MCGEE: Exactly. ABBY: I should have thought of that. MCGEE: I just need to figure out a way to calculate an accurate scale. ABBY: Polaroid cameras have a fixed focal length. MCGEE: That's a good start. Uh... I'm going to need one known measurement. ABBY: Pick one body and I'll pull her stats. MCGEE: Three known vectors should do it. ABBY: Or... TONY: Okay. Okay. Enough with the geek-speak. Gibbs wants to know how many victims we've ID'd. ABBY: All except for the last four of his scrapbook. We're running them against missing persons reports prior to Gibbs putting Boone behind bars. No matches yet. The one that stands out the most is the first victim. She disappeared in nineteen seventy four. TONY: Are you sure about that, Abs? Boone was just a kid back then. ABBY: I know, and it turns out his mother did not abandon him. She was his first kll. CUT TO: INT. OBSERVATION ROOM - DAY (DOOR OPENS) DUCKY: You don't have to do this again, you know.(DOOR CLOSES) GIBBS: You're wrong, Duck. I do. DUCKY: He's never going to tell you where those poor girls are. GIBBS: I know that. DUCKY: Then why? GIBBS: Because ten years ago I couldn't break him. DUCKY: No, but you did what no one else could. You caught the son of a bitch. GIBBS: I should have klled him. DUCKY: And in two days that will be rectified. I'm telling you as a friend. It's time to let this one go. GIBBS: Not yet, Ducky. DUCKY: You already lost one relationship as a result of this case. She was a wonderful girl. And you neglected-- GIBBS: (LOUDLY) She left me, Duck! I didn't leave her! DUCKY: No! You made it impossible for her to stay! (DOOR CLOSES) CUT TO: INT. SQUAD ROOM - DAY CASSIDY: (INTO PHONE) Okay, send him up. Make sure he's escorted. I'll let Gibbs know. TONY: Comfortable? CASSIDY: Yeah, as a matter of fact. TONY: It was a rhetorical question, lady. CASSIDY: Wow. I never realized how sensitive you were about your desk. TONY: Ah, there's a lot about me you don't realize, Cassidy. CASSIDY: Where's Gibbs? TONY: Interrogation. CASSIDY: Well Boone's lawyer is here. He claims he wasn't notified about his client being moved and he wants to talk to him. TONY: Oh, Gibbs doesn't like to be.... kept waiting. You'd better go... right in there and tell him yourself. I'll get the suit. CUT TO: INT. INTERVIEW ROOM - DAY KYLE: Finally. So where should we start this time, Jethro? My childhood? GIBBS: I didn't bring you in here to talk, Boone. KYLE: So you decided to let me see my photographs again? GIBBS: I told you that's not going to happen. KYLE: Interesting. May I ask why I'm here then? GIBBS: The State is hoping that I'll get the location of your victims. KYLE: I believe that requires some form of communication. GIBBS: I said the State. Me? I'm not even going to try. KYLE: But you always try, Jethro. That's why I like you. GIBBS: I've taken you out of the system, Boone. You're going to sit here, alone, without any human contact until you fry. The game ends now. KYLE: This room brings back so many memories, doesn't it? CASSIDY: (V.O./FILTERED) Special Agent Gibbs, a word please? KYLE: Sounds like you replaced your dad female. Any chance I can meet this one? Hmm? Well, I'll be here if you need me. (DOOR OPENS/ CLOSES) CUT TO: INT. CORRIDOR - DAY (DOOR CLOSES) GIBBS: What?! CASSIDY: Boone's attorney is here. The DA's afraid if we deny him access to his client, he'll find a sympathetic judge and have cause to have the execution delayed. O' NEILL: (INTO PHONE) I got it. (TO GIBBS) Look, I need a privileged conversation with my client. Meaning, Agent Gibbs, I want your observation room cleared and all microphones turned off. GIBBS: That's it, Counselor? O' NEILL: For now, Agent. GIBBS: Tony? TONY: Yeah, hold on a second. (TO GUARD) Search him first...thoroughly. CUT TO: INT. LAB - DAY (MUSIC PLAYS B.G.) ABBY: Hmm... I'm impressed. It's actually working. MCGEE: Thank you. Now all we have to do is scan through eight hundred thousand miles of satellite imagery, and pray we get lucky. ABBY: I am a scientist, McGee. Luck has nothing to do with it and or us. MCGEE: Okay, then how do you explain something like Gibbs' gut? ABBY: Well that's easy. Gibbs is lucky. MCGEE: But you just said that... ABBY: He's not a scientist. CUT TO: INT. CORRIDOR - DAY O' NEILL: Agent Gibbs, if anything happens to my client while he's here, I want you to know I am going to hold you personally responsible-- GIBBS: You have my word he will be in perfect health for his execution. (TO TONY) Escort Mister O'Neill out of my building, Special Agent Cassidy. O' NEILL: You'll be hearing from me. CASSIDY: Let's go. TONY: You going back in there, Boss? (PHONE RINGS) GIBBS: Yeah, maybe. (INTO PHONE) Gibbs. (TO TONY) They think they may have found his dumping ground.(SFX: ABBY'S VOICE FILTERED B.G.) CUT TO: INT. ABBY'S LAB - DAY GIBBS: What am I looking at? ABBY: Take it away, Mick-Gee! (bat) I mean, very Special Agent McGee. MCGEE: Probable site where the victims were tortured, klled, perhaps buried. ABBY: You want to know how we did it? GIBBS: Not really. ABBY: Good, because it was mostly luck. GIBBS: Where? MCGEE: Wilderness area of Great Falls National Park. GIBBS: Tony, you lead the team. TONY: All right. Where are you going, Boss? GIBBS: After ten years I've finally got something on Boone he doesn't already know about. CUT TO: INT. INTERVIEW ROOM - DAY KYLE: My lawyer was very upset. He wanted to move me back to prison. But don't worry. I told him I like it here. GIBBS: Don't get too comfortable. You're going back today. KYLE: Really? What's changed? CUT TO: INT. OBSERVATION ROOM - DAY KYLE: You found something, didn't you? CUT TO: EXT. CLEARING - DAY MCGEE: The site where the photos were taken is two hundred and sixty five feet on a track of three hundred ten degrees. We need to get through here. TONY: Okay. Remember what I told you about the poison ivy, all right? (WHISPERS) Don't tell Cassidy. CASSIDY: What? TONY: Nothing. Follow me. (SFX: TONY STUMBLES /SLIDES DOWN THE HILLSIDE) TONY: I'm okay! I'm okay! This is steep. Watch yourselves. Well, if this is the place I can see why Boone picked it. Off the beaten path, no hard surfaces to reflect sound. Those girls could scream their heads off and no one would hear. Yeah, this is the perfect spot. (SFX: INTERCUT FLASHBACK trture SCENES OF THE VICTIMS) MCGEE: Guys, we're in the right place. TONY: No reception. Spread out, tape it off. We'll hike back and call Gibbs. CUT TO: INT. OBSERVATION ROOM - DAY KYLE: Come on, Jethro! We both know you're in there. (DOOR OPENS) GIBBS: Hey. ABBY: Hey.(DOOR CLOSES) GIBBS: What are you doing here? ABBY: I wanted to see what the monster looks like. He doesn't look that scary. GIBBS: You saw the photographs? ABBY: Yeah.(DOOR OPENS/ CLOSES) CUT TO: EXT. CLEARING - DAY TONY: You did good, McGee. I'm proud of you. MCGEE: And? TONY: And what? MCGEE: Well usually you add some kind of insult at the end. TONY: No, I don't! Well, okay, maybe sometimes. But the point is, we're a team... CASSIDY: (V.O.) Oh, Tony! (TONY AND MCGEE WALK TO CASSIDY IN THE CLEARING) TONY: Are you all right? CASSIDY: I was... a little startled. TONY: By what? CASSIDY: Her. MCGEE: She couldn't have been dad more than a few days. CASSIDY: Tony, you're not going to believe this. TONY: Boone's mark. (FADE OUT) MUSIC IN: EXT. CLEARING - DAY CASSIDY: I - I can't get any reception out here. TONY: That's not surprising. Butt-nowhere isn't part of our coverage plan. CASSIDY: I'm going to head back to the truck and try and get the call through. TONY: Okay, tell Gibbs we're going to need everything we have and everyone on this one. CASSIDY: I'll be back in twenty minutes. CUT TO: INT. OBSERVATION ROOM - DAY (SFX: BOONE HUMS B.G.) (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) CASSIDY: (INTO PHONE) Gibbs! We found Boone's dumping ground. GIBBS: (V.O./FILTERED) Good work. (SCENE CUT) GIBBS: (INTO PHONE) Tell Tony he needs to call... CASSIDY: (V.O./FILTERED) We also found a fresh body. (SCENE CUT) CASSIDY: (INTO PHONE) Female. dad less than a week. She has Boone's mark on her back. I think we're definitely dealing with a copycat kller. (SFX: STATIC B.G.) CASSIDY: (INTO PHONE) Gibbs? (SCENE CUT) CASSIDY: (V.O./FILTERED) Gibbs - Gibbs, can you hear me? GIBBS: (INTO PHONE) Yeah, I heard you. I want the area sealed off. I'm on my way. (END TELEPHONE INTERCUTS) CUT TO: EXT. CLEARING - DAY MCGEE: Tony, something's not right. TONY: No, nothing has been since Boone showed up at NCIS. MCGEE: No. No, I know this girl. TONY: You know her?! How? MCGEE: You knew her too. She was the last entry in Boone's scrapbook. One of the Jane Does. TONY: He's been on death row for ten years, McGee. She's been here less than a week. That's not possible. (bat) It can't be! CUT TO: INT. INTERVIEW ROOM - DAY (DOOR OPENS) KYLE: You look a little peaked, Jethro. Is something wrong? Maybe I can help. A new development, perhaps? GIBBS: I've got to hand it to you, Boone. I did my best, but you got me to play your game. Congratulations. KYLE: You found the bodies. Good. Not what you were expecting, was it? You see, there's someone else out there, now. A new thrat. And I'm the only one who can help you find him. You'll have to request a stay of my execution. GIBBS: I'm gonna have to pass on that. No matter how this plays out, you're going to sit in that chair Saturday. KYLE: You can't have changed this much. You have a sworn duty. GIBBS: Maybe ten years ago. Now... hell, I can wait until Sunday to start an investigation. KYLE: You're bluffing. GIBBS: You're dad in thirty six hours.(GIBBS WALKS O.S.) KYLE: Yeah, well I'll be here when you change your mind! CUT TO: EXT. CLEARING - DAY (MUSIC OVER ACTION/MAN KNOCKS CASSIDY IN THE HEAD WITH THE SHOVEL) (CASSIDY FALLS TO THE GROUND) (PASSAGE OF TIME) (MUSIC OVER ACTION/CASSIDY LIES IN THE CAR TRUNK) (PASSAGE OF TIME) TONY: Cassidy! Cassidy! Great! She's lost! Why didn't you give her your GPS thingy, Probie? MCGEE: She's not lost. TONY: What's going on? MCGEE: She's been kidnapped. CUT TO: INT. SQUAD ROOM - DAY GIBBS: McGee, where is my list of every visitor and phone call Boone's had since being in prison? MCGEE: I'm working it, Boss. GIBBS: Tony? Tony! Back up teams in place? TONY: Yeah. I never should have let her take off like that alone, Boss. ABBY: The Polaroid of Cassidy is clean. There's no prints, no DNA. I'm sorry, Gibbs. I screwed this whole thing up. TONY: You screwed it up? ABBY: We should have known there was more than one kller. I only ran the Jane Does up until the time Boone was captured. All four have gone missing the last three years. GIBBS: Concentrate on Boone's contacts over the past three years. MCGEE: Yeah. ABBY: We can't lose another agent. I can't take this. MCGEE: Okay, our best bet is a guy named John Frederick Briggs. In the last three years he's logged two hundred and twenty nine phone calls and visited Boone ninety six times. GIBBS: He's writing Boone's biography. TONY: He's living it. MCGEE: He's off to a good start. Dishonorable Discharge from the Army in ninety one. Arrested for Domestic Disturbance in two thousand for beating his girlfriend. GIBBS: Find him! MCGEE: Home address and cell phone number. TONY: Find out if his cell has a GPS locator so... MCGEE: I checked the carrier. It does and it can be remotely activated by the company if it's reported stolen. GIBBS AND TONY: (IN UNISON) Good job, McGee! GIBBS: Let's roll! MUSICAL BRIDGE TO: INT. CAR - MOVING (MUSIC OVER ACTION/TONY AND GIBBS FOLLOWING CAR) (SFX: CAR TIRES SCREECH) MCGEE: (V.O./FILTERED) Okay, Brigg's cell provider is....(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (INTO PHONE) ... relaying us his location. He's in movement. ABBY: (INTO PHONE) He's headed out of D.C. on the One Ninety One. (INTERCUT CAR CHASE SCENES) MCGEE: (INTO PHONE) He's getting off the One Ninety at Oakley. If you get off at MacArthur... (SCENE CUT) MCGEE: (V.O./FILTERED) ... You might make it before him. (INTERCUT CHASE SCENES) GIBBS: (INTO PHONE) How far ahead is he? MCGEE: (V.O./FILTERED) Less than a mile.(END TELEPHONE INTERCUTS) CUT TO: INT. CAR - MOVING TONY: That's got to be him. (MUSIC OVER ACTION/CAR BRAKES TO A STOP) GIBBS: Keep your hands on the wheel! Keep them up! BRIGGS: Okay, what the hell is going on here?! . GIBBS: Where is she, Briggs? BRIGGS: Okay. Okay, I have every right to be here! I heard from a guard you found the bodies. I want to see them. GIBBS: Shut up. (SFX: TRUNK OPENS) CUT TO: EXT. CAR - DAY O' NEILL: Hello. CUT TO: INT. BARN - DAY (O'NEILL DRAGS CASSIDY ACROSS THE FLOOR) CASSIDY: What did you do to me? O' NEILL: I ht you in the head with a shovel, my dear. CASSIDY: Did you kll that woman we found? O' NEILL: I did. CASSIDY: How many more are there, O'Neill? O' NEILL: Let's see, there is uh...there's one, there's two, three, four. You will make five. CASSIDY: How did Boone turn his lawyer into his replacement? O' NEILL: You really think I'm Boone's lawyer by coincidence? (SHOUTS) Come on! See, I... I sought Boone out. CASSIDY: Why? O' NEILL: So I could learn from him. Learn from the best. And you... you're my graduation present. (SFX: O' NEILL STRIKES CASSIDY) O' NEILL: You know, you can scream if you want to. It's allowed. Oh! Kyle says he wants Agent Gibbs to remember him for a long, long time after he's gone. So you and me... we're going to take this nice and slow. (F/X: O' NEILL HITS CASSIDY) O' NEILL: Oh... oh... a fighter, huh? I haven't had one of those before. CASSIDY: Try that thing again with that Knfe-- ! CUT TO: INT. INTERVIEW ROOM - DAY GIBBS: You wanted to see your scrap book? Where is my agent? CUT TO: INT. OBSERVATION ROOM - DAY KYLE: Stop it. Stop it! CUT TO: INT. INTERVIEW ROOM - DAY KYLE: Look, you don't know what... you don't know what you're doing. Jethro! Don't! I don't know where she is. How can I? Gibbs, please. Just let me see them one last time. Please! (CRYING) I'm begging you! GIBBS: Where... is she? KYLE: (LAUGHING) We all know you can't destroy evidence. Pathetic, Jethro. Did you really think that I need that to see them? When they're all up here, anytime I want? Your agent is going to suffer. The obscenities unleashed on her, legendary. And you know why? Because you're the one that stopped me. This is all your fault! (F/X: GIBBS THROWS KYLE UP AGAINST THE WALL) KYLE: He's cutting her tongue out of her mouth right now. And you know the best part? After I'm gone, the bodies are just going to continue to pile up. I bat you! (SFX: gn CLICKS) KYLE: You're supposed to sh*t me, you idiot! GIBBS: That the big plan you spent ten years working on? Get me to mrder you and ruin my own life? Wow. KYLE: He's carving your name in her back right now. GIBBS: Game's over. (V.O.) Back to death row!(GIBBS WALKS O.S.) KYLE: Gibbs! CUT TO: INT. CORRIDOR - DAY KYLE: The Governor call yet? Because they're not going to kll me now. I'm the only one who can identify the kller. Do you think she screamed when he cut out her tongue, Jethro? GIBBS: I don't know. Why don't you ask her yourself? CASSIDY: I'm afraid your lawyer is going to miss your execution tomorrow. TONY: He's kind of d*ad. GIBBS: Enjoy hell. KYLE: (SCREAMS) No! No! No! (FADE OUT) (ENDING CREDITS UP AND OUT) (ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x03 - Mind Games"}	foreverdreaming
FADE IN: INT. ANTHROPOLOGY LAB - DAY BURNS: (ON CAMERA) Welcome to the Smithsonian Anthropology Lab. I'm Doctor Elaine Burns and you're watching the Recovery Channel. (V.O.) Tonight we'll be opening a time capsule from the Civil wr. Lights, please. This iron casket represents one of America's first uses of rubber in an industrial process, sealing in the dad from the ravages of weather and time. Now what makes this one particularly special is that all of its seals were found to be fully intact. Gentlemen, what we're hoping to find inside are some of the best preserved remains from the Civil wr era. This is unbelievable. This type of preservation is unheard of in a hundred and forty year old body. (SFX: CASKET OPENS) CAMERAMAN: Joe. We have a problem. DIRECTOR: (V.O.) Doctor Burns? BURNS: Yes? DIRECTOR: I don't think they carried those in the Civil wr. (FADE OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES / CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "SILVER wr" (SFX: ELECTRIC RAZOR B.G.) TONY: I friggin' hate Mondays. Friggin' Fat Al's All-you-can-eat Burrito Shack. More like Fat Al's bacteria shack. Come on. I shouldn't have come into work today. Gibbs sees me like this... ZIVA: He'll probably be as horrified as I am, Agent DiNozzo. You working undercover as a hobo? TONY: You mind telling me what you're doing here... again? ZIVA: Um... waiting. TONY: For what? ZIVA: To start work. Does everyone always come in this late? TONY: It's zero seven hundred. ZIVA: At Mossad we start at zero five hundred. TONY: Okay, let me rephrase the original question. What the hell are you doing here, Ziva? ZIVA: I see. Gibbs didn't tell you? TONY: Tell me what? ZIVA: Mossad's assigned me to NCIS as a liaison officer. We're going to be working together. TONY: Does Gibbs knows about this? ZIVA: Do you think I'd be here if he didn't? (CHUCKLES) You might want to do something about your hair. It's sticking up like a pork-u-swine. Wrong word. Like a pork-u-pig? The little animal with the little spikies, yes? MCGEE: Porcupine. ZIVA: Porcupine! Thank you, Special Agent McGee. Hold that. MCGEE: Sure. ZIVA: Hmm. Anyone have a key for this? MCGEE: That's Kate's desk. ZIVA: Okay, but if I'm going to be a part of your team I would love to... MCGEE: Whoa! You're part of our team? ZIVA: Yes. MCGEE: Did Gibbs tell you about this? TONY: Nope. ZIVA: Here are my orders. Signed by Director Shepard. MCGEE: You think Gibbs knows? ZIVA: I hope so. All my personal possessions are currently being shipped from Tel Aviv to Washington. TONY: I'd hold off on unpacking the waffle iron until you talk to him, Ziva. ZIVA: When's he come in? TONY: Now.(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) ZIVA: Special Agent Gibbs. GIBBS: Ziva. (INTERCUT FLASHBACK SCENES OF ARI) GIBBS: What are you doing here? ZIVA: Looking forward to being a member of your team. (GIBBS WALKS O.S.) ZIVA: I stand corrected. It appears he didn't know. . I feel very much like a donkey's butt. MCGEE: A donkey's butt? TONY: I think she meant horse's ass, McGee. ZIVA: Yes. That, too. CUT TO: INT. MTAC ROOM - DAY SHEPARD: Something I can help you with this morning, Special Agent Gibbs? GIBBS: Yeah. I've got a personnel issue. You know anything about that? SHEPARD: I take it Ziva arrived a few days early? Right. Before we get into this, I'm going to need a refill. (GIBBS POURS COFFEE INTO SHEPARD'S CUP) SHEPARD: That was sweet... not necessarily sanitary. GIBBS: What is she doing here, Jen? SHEPARD: If we're going to fight a global wr on terror, we need to work closely with our allies. GIBBS: Well that sounds good. Put her on somebody else's team. SHEPARD: I want her with you, Jethro. GIBBS: Mossad trained her to spy and kll, not to investigate crime scenes. Send her to CIA. SHEPARD: Just to be clear, this is not a request or a debate, Agent Gibbs. GIBBS: Mmm. Anything else you want to change about my team while I'm here? SHEPARD: Look, if anything, you're lucky to have her. She's one of the finest agents I ever worked with in Europe. GIBBS: Why didn't you ask me first, Jen? SHEPARD: And what would you have said? (bat) Exactly. Number eighteen, it's better to seek forgiveness than ask permission. GIBBS: Oh, that's real nice. Using the rules I taught you against me. Nice touch. SHEPARD: I learned from the best, Jethro. I want Ziva to as well. CUT TO: INT. SQUAD ROOM - DAY TONY: You want something to read? ZIVA: What do you have? TONY: G.S.M. It's a men's magazine. Most women find it objectifies them. ZIVA: I read it on the plane. I especially like the article on page fifty-seven. In my experience, it works every time. TONY: I... I always thought that was urban legend. (GIBBS THROWS A COFFEE CUP AT TONY) TONY: Ow! ZIVA: What's the verdict? GIBBS: Pack your trash. ZIVA: Not a problem. Most of it doesn't arrive until next week. Nice seeing you again, Tony. McGee. (ZIVA WALKS TO THE ELEVATOR) (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) GIBBS: I told you to pack your trash, Ziva. I don't remember giving you permission to leave yet. (SFX: ELEVATOR STOPS) GIBBS: You requested this assignment? ZIVA: I did. GIBBS: Why? ZIVA: I had to get away from Mossad for a while. GIBBS: Do you believe what Ari said about your father? ZIVA: No. Yes. Maybe. GIBBS: Your brother was a Svengali, Ziva. ZIVA: Like father. Like son. GIBBS: Does Mossad know you klled Ari? ZIVA: No. They believe your report. Only you and I know the truth. For that I thank you. GIBBS: I trust you. You know that. But when we leave this elevator... ZIVA: You start kicking my butt. GIBBS: I don't kick butt. (SFX: ELEVATOR BEGINS MOVING) CUT TO: INT. SQUAD ROOM - DAY GIBBS: Miss David will be with us for a while. That's Kate's desk. Yours is down at the end. ZIVA: He's a tough one to read. TONY: You'll find most NCIS agents are like that. It's our training. ZIVA: Is that a fact? TONY: Mm-hmm. We never let the other people know what we're thinking. ZIVA: Right now you're thinking of doing page fifty seven with me. MCGEE: Boss, we have a situation at the Smithsonian Museum. GIBBS: What? MCGEE: Well, it's kind of complicated, but there may have been a mrder. GIBBS: May have been, McGee? MCGEE: Yeah, well they have a Union soldier who was dug up from a bttlefield in Manassas. And now they think that he may be a Marine. GIBBS: It was the Civil wr, McGee. Marines fought on both sides. MCGEE: Right. Yeah, I know. But this Marine had dog tags. They didn't exist back then. I know that you know that, being a Marine. GIBBS: Get to the point, McGee! MCGEE: Well, they think that this Marine was klled recently and somehow buried in a way they can't quite explain it but in a hundred and forty year old cast iron sarcophagus. GIBBS: Dressed as a Union soldier? MCGEE: Basically, yeah. GIBBS: Gas the truck, McGee. DiNozzo! TONY: Yeah, boss! GIBBS: I've got a mrder in your area of expertise. TONY: This happens a lot, me being a Senior Field Agent and all. ZIVA: I'm sure it does. TONY: What do we got, Boss? Multiple homicides? GIBBS: No. TONY: gng related? GIBBS: No. TONY: Defenestration? GIBBS: The Civil wr. TONY: I can hardly wait. That's my favorite subject. ZIVA: What about me? GIBBS: You're coming along strictly as an observer. Hand over all your wapon. ZIVA: Is that really necessary? Right. (MUSIC OVER ACTION/ZIVA HANDS OVER HER wapon) GIBBS: And your backup. ZIVA: What backup? GIBBS: Left leg. ZIVA: Oh. That one. GIBBS: And the Knfe concealed at your waist. You can keep this. I just want you to know that I know. CUT TO: INT. ANTHROPOLOGY LAB - DAY DUCKY: According to his dog tags, the young man is Warren Sorrow, U.S.M.C. GIBBS: How long has he been in there, Duck? DUCKY: He's remarkably well preserved. Could be months or even years. We'll know more when we get him home. You know, in the nineteen seventies, grave-robbers raided a Southern Colonel's cast-iron casket. They took his wapon, his jewelry, and for some strange reason, the poor man's head. When the local authorities found the hundred year old decomposing corpse, they assumed he was recently decapitated. They opened a mrder investigation. GIBBS: This guy's still got his head. We're not local cops. I want to know how he died. BURNS: I can help with that. Doctor Mallard, well how nice to see you again. DUCKY: Yes. It is. How are you? BURNS: Doctor Elaine Burns. We met in Hawaii almost eighteen years ago. (bat) The conference on identifying POW remains in Vietnam? DUCKY: Yes, of course. How wonderful to see you again. BURNS: I still have that puka shell necklace you gave me. DUCKY: Yes, quite the keepsake, aren't they? GIBBS: Do you have information on how this man died, Doctor? BURNS: Ah, yes. We took the liberty of imaging the corpse before we knew for sure we were dealing with an actual homicide and not just some sick hoax. GIBBS: Meaning you disturbed my crime scene? BURNS: As a forensic anthropologist, I can assure you my examination was strictly non-evasive. There. Now I've seen several images like this in the past, but you can't be certain until you get it out. GIBBS: Get what out? BURNS: In my opinion, it's a musket ball. (MUSIC OUT) MUSIC IN: INT. ANTHROPOLOGY LAB - DAY ZIVA: I don't think this is what Gibbs had in mind when he instructed me to observe.(SFX: SHUTTER CLICKS B.G.) TONY: Do you have any idea how many people get klled in America by bears every year, Ziva? ZIVA: No, but I can't imagine a lot. TONY: You'd be surprised. ZIVA: McGee? MCGEE: Uh... I think it's about one. ZIVA: Isn't there something more constructive you could be doing? TONY: Like what? ZIVA: Investigating. GIBBS: DiNozzo and McGee. Report in. TONY: Casket was uncovered by a housing project going up near the Bull Run bttlefield in Manassas, Boss. Got the name and address of the construction company. Scheduled an interview and soil test for tomorrow. MCGEE: The only thing removed from the casket was one cell phone, damaged and non operational. I've also got the prints of the lab workers to run against any we find in or around the body and tomb. And Doctor Burns was wearing surgical gloves when she picked this up. GIBBS: Good work. Miss David? ZIVA: I'm wondering why there's a nine-millimeter hole in my hat. GIBBS: Ventilation. ZIVA: Oh. GIBBS: I'll escort the casket back with Ducky. We'll meet in the squad room. ZIVA: Agent Gibbs? I would also like to know if I could drive the truck back to base. It might make me feel as if I actually accomplished something today. MUSICAL BRIDGE TO: INT. TRUCK - MOVING TONY: Hey, not so fast! ZIVA: I always drive fast! It's the best way to avoid possible IEDs and ambushes. TONY: You're in America now. I wouldn't worry about it. How about this? Slow down or I'll puke on you. ZIVA: Tony, why don't you like the American Civil wr? TONY: I don't want to talk about it. MCGEE: It's because of his father. TONY: Was she talking to you, Probie? ZIVA: Oh. You didn't get along with your father. Hm... explains a lot. TONY: My father and I got along fine. ZIVA: If you say so. I think it's best to talk about things instead of burying them inside. MCGEE: What about you? Your father? Deputy Director David, what's he like? TONY: Slow down, we're taking the next left. (SFX: CAR HORNS HONK/TIRES SCREECH) MCGEE: Ziva, car! Car! Car! (TONY SHOUTS) ZIVA: Sorry. First time behind the wheel after a six month mission in the U.K. (SFX: TONY VOMITS) (PASSAGE OF TIME) ZIVA: I said I was sorry. CUT TO: INT. SQUAD ROOM - DAY MCGEE: We ran his prints through AFIS. It is confirmed our Union soldier is Staff Sergeant Warren Sorrow, an MSG instructor in Quantico. TONY: MSG stands for-- ZIVA: Marine Security Guard. I've been to over two dozen embassies around the world, Tony. GIBBS: What do we have on the Staff Sergeant, McGee? MCGEE: Reported UA about a year ago. I'm currently building a profile on what his life was like around the time of his disappearance. GIBBS: Not anymore. I want you with Abby. Find out what was on the cell phone we found in the casket. Tony, you're on the paper trail. I want to know everything about him by the time I get back. And you? You keep... you keep observing. ZIVA: What exactly, Gibbs? GIBBS: I don't care. Just do it quietly. (GIBBS WALKS O.S.) ZIVA: Now I know why he took all my wapon away. CUT TO: INT. AUTOPSY ROOM - DAY (DOOR OPENS) DUCKY: Have you ever spent an evening with a young lady and failed to remember it, Mister Palmer? Oh, what was I thinking? Of course not. JIMMY: But I wouldn't mind. DUCKY: Well, it's not something to be admired, Mister Palmer. That doctor today at the Smithsonian intimated that we shared a special something in Hawaii during a conference once. JIMMY: Yeah, what doctor was that, Doctor? DUCKY: The young and attractive one. JIMMY: Um.... still not following you. DUCKY: She was the only doctor there besides myself. JIMMY: Oh! You mean Doctor Burns? DUCKY: Yeah. JIMMY: Oh, I'm sorry. I thought that you said she was young. DUCKY: Young to me, Mister Palmer. Young to me. Ah, will you rotate the head twenty degrees to the left? She invited me out for cocktails tomorrow evening. I was forced to decline. JIMMY: Why? She seemed nice. DUCKY: Oh she's more than nice. But how do you tell a woman that you have absolutely no mental recollection of her whatsoever? JIMMY: I suppose one could always lie. DUCKY: Have you been spending time with Agent DiNozzo again? (bat) Hmm... to Abby, please. JIMMY: Right away, Doctor. DUCKY: I don't suppose you've ever been to Hawaii. CUT TO: INT. LAB - DAY (MUSIC PLAYS B.G.) ABBY: That should do it. MCGEE: That's what you said the last eight times. ABBY: See? That shows how much attention you pay to me. It was nine, Timmy. MCGEE: All right. ABBY: So did we do it? Did we do it? Did we do it? Did we fix the cell phone's circuit board? MCGEE: Hold on. ABBY: Come on! You're klling me, McGee! MCGEE: Yes. Yes, I think that we fixed it. I think the circuits are - just how many Caff-Pows have you had today, Abby? ABBY: You know, the usual. MCGEE: Trust me, I think you've had more than the usual. Because I'm getting jumpy just looking at you. ABBY: Some people drown their sorrows in drugs and alcohol. I prefer caffeine. Now hook up the cell phone board and get cracking before Gibbs decides to crack you one. MCGEE: You mean crack us. ABBY: Gibbs would never ht a lady. MCGEE: Exactly. So I suggest we get started. CUT TO: INT. SQUAD ROOM - DAY TONY: Ziva? ZIVA: Yes? TONY: First of all, don't ever do that again. And second, what are you doing? ZIVA: I'm observing you, Tony. TONY: Any way you can do that in a less creepy manner? ZIVA: Who is the woman with Gibbs? TONY: Yeah. Once you're here long enough, you'll figure it out. ZIVA: Is that his girlfriend? TONY: I have no idea. ZIVA: You just told me that... TONY: Well, you'll figure out there's some things around here you don't ask about. (SHEPARD WATCHES GIBBS FROM THE STAIRS) DUCKY: Where's Gibbs, Tony? TONY: Your two o'clock. GIBBS: What's wrong, Duck? DUCKY: I know how our Staff Sergeant died. GIBBS: From your look I'm guessing it wasn't a musket ball. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: At first one could assume that a projectile of such size and mass would produce almost instant death, but Pre-Civil wr muskets were notoriously unreliable, and lost most of their velocity over the first hundred meters. Our Sergeant was grievously wounded by a musket ball, but his injury was not fatal. ZIVA: Then how did he die, Doctor Mallard? DUCKY: His lung tissue was coated with an extremely fine film of rust particles. And one can only imagine how long he clawed at the iron sides of his casket ... trying to escape before he suffocated. (MUSIC OUT) FADE IN: INT. SQUAD ROOM - DAY ZIVA: A Marine dressed as a Civil wr soldier is sht by a musket and then buried alive in a one hundred and forty year old antique iron casket. And you're telling me this isn't your strangest case? TONY: Yep. MCGEE: Pretty much. ZIVA: I don't know what I find more disturbing? Your eating habits or the fact that I believe you. TONY: I'm sorry, do our strange American foods frighten you? ZIVA: Not at all. I was referring to your manners. You should have bought me one. MCGEE: I'm going to go help Abby. SHEPARD: (V.O.) She seems to be fitting in well. CUT TO: INT. STAIRWELL - DAY GIBBS: She almost klled my entire team yesterday. SHEPARD: How? GIBBS: Driving home from a crime scene. SHEPARD: I should have warned you. I think she was an East European cabdriver in a past life. GIBBS: Yeah, well she wasn't a cop. She obviously has no investigative or law enforcement experience, Jen. SHEPARD: Neither did I when I first started with you. GIBBS: Yeah, well you were always a fast learner. ZIVA: (V.O.) You sure you don't want it back Tony? (INTERCUT FLASHBACK SCENES) CUT TO: INT. SQUAD ROOM - DAY ZIVA: Most men usually don't have a problem with my germs. TONY: I've got a lead on how our Staff Sergeant ended up in a Union Soldier's uniform. He was a member of a local CW.... C.W.R out of Fairfax. ZIVA: C.W.R.? TONY: Yeah. Civil wr Reenactors. Guys who get together, dress up in period costumes, reenacting famous battles. ZIVA: Why? TONY: I've been asking my father that since I was ten years old. ZIVA: According to this, they're preparing for one of those battles this week in Manassas. Quite the coincidence. TONY: In the immortal words of Leroy Jethro Gibbs, I don't believe in coincidences. GIBBS: Is that a fact, DiNozzo? TONY: Hey boss. I was just telling Ziva about this lead that I-- GIBBS: Yeah, I heard. Come on. Abby's found something. Let's roll. TONY: That's an American custom. A form of affection. ZIVA: It seems like "Shloshet haStooges" to me. TONY: LIKE WHAT? ZIVA: Larry, Moe, Curly, yes? CUT TO: INT. OUTER LAB - DAY (MUSIC B.G.) GIBBS: Abs?(SFX: DOORS SLIDE OPEN) ABBY: I look like a freak. Well? TONY: Whoa. MCGEE: See, I don't think she really looks that bad. ZIVA: Is she making a reference to that strange tattoo on her neck? GIBBS: Why? ABBY: One of the Director's new admin weenies brought me this last night. It's the NCIS dress code. He said I was in violation. GIBBS: He did, did he? ABBY: It's bad enough that I have to wear a monkey suit for court appearances, but everyday? ZIVA: I think you look nice, Abby. ABBY: Nice?! You think I look nice?! I look like... like... TONY: Career Girl Barbie. ABBY: Oh my god! I do! I can't work like this, Gibbs. GIBBS: I'll take care of it, Abs. ABBY: I'm allergic to polyester. It makes me itch. It's a medical condition. I could get a note from the doctor. GIBBS: Abby, I said I'll take care of it. (SFX: FLATULENCE) TONY: Don't ask. GIBBS: Can we get back to work now? ABBY: Do I have to wear the shoes? CUT TO: INT. INNER LAB - DAY ABBY: The circuit board on the cell phone was damaged. But we managed to get it working again. The battery shut down on October third, two thousand four. MCGEE: The last twenty two calls were made to nine one one. ABBY: None of them went through. TONY: He was calling from inside the casket. MCGEE: Yep, cast iron and buried underground. ABBY: I don't think anyone's calling plan extends that far, Tony. GIBBS: What are the last entries here? MCGEE: Uh... well, he was running low on oxygen, Boss. I assume that he was trying to dial another number - ht random keys. GIBBS: Find out. What did you pull from the tomb, Abs? ABBY: There were traces of Staff Sergeant Sorrow's blood inside of the cover. ZIVA: Most likely from when he tried to claw his way out. ABBY: Since his fingers were shredded, that must have been really hard to figure out.... Agent De-ved. ZIVA: It's pronounced David. Or you can just call me Ziva. ABBY: I also found two very distinct types of dirt on the outside. One is red clay which is very common in Virginia. And the other had a high concentration of fertilizer. GIBBS: Tony, meet with the construction company that found this. TONY: Zero nine hundred. GIBBS: Take Ziva with you. See if there's anything left of that crime scene. TONY: On it. ABBY: Come on, McGee. (INTERCUT FLASHBACK SCENES OF CASKET INTERIOR) (PASSAGE OF TIME) MCGEE: Abby, what if these aren't numbers? Abby? (MUSIC OVER ACTION/MCGEE WATCHES ABBY DRESS) ABBY: See something you like, McGee? MCGEE: No. (bat) I mean, yes? ABBY: Better. What were you going to tell me? MCGEE: Um... what if he wasn't trying to dial a number, but he was trying to send a text message? ABBY: McGee, sometimes I think I love you. CUT TO: INT. ELEVATOR - DAY ZIVA: Tell me you have a shower here. TONY: We do. But only for biological or chemical emergencies.(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) ZIVA: Wonderful. TONY: Well you're the one who said you were sick of observing. ZIVA: You made me crawl through a dump truck full of dirt. TONY: There could have been valuable evidence in there. ZIVA: There wasn't! TONY: Yes, and thanks to you we now know that. GIBBS: How'd it go? TONY: Nothing, Boss. Building site was clean. Figuratively speaking. ZIVA: Very. TONY: We taped off the area, but we're not going to find anything. ABBY: Gibbs! We did it! GIBBS: Did what, Abs? MCGEE: Those random numbers weren't random after all, Boss. ABBY: Staff Sergeant Sorrow was leaving us a text message from the grave. (PASSAGE OF TIME) ABBY: When you put it through the cell phone's text converter, you get this. MCGEE: (READS) "Only got half. Oxbow not on his side. Kearns, don't let him get safety deposit box." TONY: That's it? ZIVA: He was buried alive, Tony. What did you expect? A soliloquy? ABBY: We ran his social through the banking system. Staff Sergeant Sorrow has a safe deposit box paid for five years at the North Virginia Savings and Trust. GIBBS: McGee, get me a warrant. MCGEE: I already called it in, Boss. GIBBS: DiNozzo, Oxbow and Kearns? TONY: On it. GIBBS: Get me into that safe deposit box. You take Ziva with you. ZIVA: Is there somewhere I can clean up? GIBBS: Yeah. Sure. Tonight when you go home. CUT TO: EXT. COURTYARD - DAY MCGEE: Ziva, let me help you with that. ZIVA: I'm not a child. MCGEE: Just trying to help. ZIVA: You make up what I missed. MCGEE: Thank you. ZIVA: Is Tony always so...? MCGEE: Yeah. ZIVA: And Gibbs? MCGEE: Oh, yeah. ZIVA: And Abby? MCGEE: Uh... Abby's... usually nice. ZIVA: Then it's me. I guess I have that effect on people. MCGEE: It's... it's not you. Ziva, the past month has been hard on everyone. But I'm glad you're here. ZIVA: Yes? MCGEE: Yeah. It means I'm not the newbie anymore. ZIVA: Ha! (ZIVA LOOKS AROUND THE COURTYARD) MCGEE: What's wrong? ZIVA: Nothing. Still getting used to America, I suppose. CUT TO: INT. SAFETY DEPOSIT ROOM - DAY SMITH: I understand Staff Sergeant Sorrow has been missing. MCGEE: Who told you that? SMITH: His brother. He's inquired several times about the safety deposit box. ZIVA: Why? SMITH: He felt if something had happened to the Staff Sergeant, he would have wanted him to have it. ZIVA: Like death? SMITH: Obviously. But without a death certificate or court order, our policy is to maintain the contents until the lease runs out. Is Staff Sergeant Sorrows missing? MCGEE: Not anymore. ZIVA: Anything else or can we open the box now? SMITH: I'll be outside if you need me. (DOOR OPENS/ CLOSES) ZIVA: Oof. We need to talk to his brother. MCGEE: Definitely. (MUSIC UP AND OUT) FADE IN: INT. SAFETY DEPOSIT ROOM - DAY ZIVA: (V.O.) A mummified hand. An ancient map. (ON CAMERA) This has to be your strangest case now, McGee. MCGEE: (INTO PHONE) Thanks. (TO ZIVA) Maybe. That was Tony. Staff Sergeant Sorrow does not have a brother. So we need to pull the bank security camera footage, see if they have a sht of this guy who claims to be his brother. ZIVA: You know what this reminds me of, McGee? MCGEE: Mossad case? ZIVA: No. A Harry Potter novel. MCGEE: You read those too? ZIVA: Hmm. MCGEE: Me neither. CUT TO: EXT. BANK - DAY MAN: Excuse me. Excuse me. Do you know where I can find a Kelleher Avenue? MCGEE: Uh... yeah. North of here about four blocks. MAN: Four blocks? MCGEE: Yeah. MAN: Yeah. Hey, I'm going to need that map, too. MCGEE: Excuse me? MAN: The map. Why don't you take a look at that van behind me? All right, now give me your wapon. Come on, give it to me. Now back up. Back up. MCGEE: Now what? MAN: Now you get wet. (MAN PUSHES MCGEE AND ZIVA INTO THE FOUNTAIN) (SFX: CAR TIRES SCREECH) MCGEE: Damn it! Gibbs is going to kll me. ZIVA: Look on the bright side, McGee. At least I'm clean again. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: No, no, no. Tighter. Hold it tighter, Mister Palmer. I can put some English on it. (SFX: DUCKY TEARS OFF THE FINGER) DUCKY: Oops. Oh, dear. JIMMY: A little too much English, Doctor. DUCKY: There is no such thing. Do you know what we have here, Mister Palmer? JIMMY: A very old ring? DUCKY: Yes. And a reason to call Doctor Burns back. CUT TO: INT. SQUAD ROOM - DAY MCGEE: Boss, I'm sorry. I screwed up and it won't happen again. GIBBS: It wasn't your fault. They used us. Used us to get into that safety deposit box for them. MCGEE: Well, he knew exactly what he wanted. All he asked for was the map. GIBBS: Map? What map? Map of what, McGee? MCGEE: I didn't really get a look at it. TONY: Maybe it was a treasure map, Probie!? You know, like gold, diamonds, silver. GIBBS: It wasn't from one of your dumb ass movies, DiNozzo. TONY: Sorry. MCGEE: We need to find this guy. Claimed he was Staff Sergeant Sorrow's brother. TONY: I might have a name for him. Been researching the words from Sorrow's farewell message. Oxbow and Kearns. MCGEE: Oxbow is the name on the map. TONY: The other name might be his. Judd Kearns, a member of the same Civil wr club our dad Staff Sergeant belonged to. GIBBS: Get an address? TONY: Yeah, but he's not there. Their club is on their way to Manassas bttlefield Park for a reenactment. Should be there this afternoon. GIBBS: McGee, what else do you remember about the map? ZIVA: I think I can help with that. At Mossad, officers who failed to observe don't generally last too long. TONY: Hmm. At NCIS they apparently get drop kicked into water fountains. ZIVA: That would have never happened if I had my wapon. GIBBS: McGee, find out what this is a map of. MCGEE: I'm going to get right on it. CUT TO: INT. LAB - DAY MCGEE: Abby, Ziva was amazing. I mean, she's got a photographic memory! (bat) What? ABBY: Why don't you two just get a room, McGee? MCGEE: What, you think she likes me? ABBY: McGee, never forget. I am one of the few people in the world who can mrder you and leave no forensic evidence. DUCKY: Well perhaps we should come back then. ABBY: Ducky! Just venting. Who's your friend? DUCKY: Ah, I'd like you to meet Doctor Elaine Burns, a forensic anthropologist from the Smithsonian. BURNS: Ducky was saying you might be in need of my expertise. (PASSAGE OF TIME) BURNS: It's French, nineteenth century. Usually worn by Southern gentlemen to telegraph welcome status. It's in fantastic condition. Where'd you find it? DUCKY: On a mummified hand in a safety deposit box, I'm afraid. BURNS: Sounds like scavengers. Grave robbers. We've had more sites ruined by them than I care to remember. GIBBS: How about the map we found with it, Abs? BURNS: Certainly typical of the Civil wr Period. ICF stands for Irregular Confederate Forces. Oxbow may be referring to a prominent Virginia family. ABBY: Where'd they live? BURNS: Manassas. Their mansion was destroyed in the Second Battle of Bull Run by the Union. ABBY: Remember how we found Boone's dumping grounds, Gibbs? I could run the vectors between these features and satellite imagery. GIBBS: Do it. BURNS: Well, if it is Manassas, I've had several digs there. I'd be more than willing to serve as a guide. That is if Doctor Mallard would be willing to accompany me. CUT TO: INT. SQUAD ROOM - DAY TONY: Boss, his club checked in with the Park Rangers. Judge Kearns is there now. Are we rolling? GIBBS: No, not yet. (TO ZIVA) Gear up. (MUSIC OVER ACTION/ ZIVA GATHERS HER wapon) CUT TO: INT. bttlefield PARK - DAY (SFX: gn) (VOICE: "fre!") MCGEE: (V.O.) Bring back memories for you, Tony? ZIVA: It looks like fun. TONY: You know what little Anthony DiNozzo's job was during these reenactments, Ziva? ZIVA: Little drummer boy? TONY: No, I would carry around a bucket so these guys could take a dump. They called me "that little poo boy." GIBBS: Kearns is out here somewhere dressed as a Union Sergeant. You two with me. See if you match up any landmarks on the map. (GIBBS AND TONY WALK O.S.) ZIVA: Any suggestions, doctors? BURNS: Let me look. By the orientation of the map, I suggest we start near some of my old dig sites to the north. DUCKY: Unless... may I? During times of wr mapmakers often add terrain or change the declination of north and south in order to confuse... ZIVA: Confuse the enemy before it fell into the wrong hands. DUCKY: Yeah, very good, Ziva. Yes, what troubles me about this map is this Confederate flag in the corner. ZIVA: It's unfurled in the opposite direction of most flags. DUCKY: Precisely. I think we should start looking to the south. CUT TO: EXT. bttlefield CLEARING - DAY TONY: Boss, your three o'clock. Red stripes. MCGEE: That's the guy from the bank video. (BEGIN CHASE SCENE) TONY: Oh, he's going! Fast! GIBBS: You think?! Son-of-a.... CUT TO: EXT. bttlefield PARK DUCKY: Ziva, I really think we should wait for Gibbs. ZIVA: He is the one that told us to look for landmarks, Doctor Mallard. DUCKY: Land marks, yes. Following them deep into the woods, probably not. And please, call me Ducky. ZIVA: Okay, Ducky. I believe this is the trail indicated on the map. BURNS: I doubt it. Wait. The topography is completely different today. If anything we might have better luck starting near the site where the Oxbow mansion used to stand. ZIVA: We can try that next. CUT TO: EXT. bttlefield CLEARING - DAY TONY: That's not bad, boss. I thought you were still behind me until you tackled him. GIBBS: Not likely, DiNozzo. TONY: What's his excuse? CUT TO: EXT. bttlefield PARK - DAY ZIVA: It wasn't an "X" on the map. DUCKY: It's a cross. This is a graveyard. ZIVA: Ducky, wait here and call Gibbs. Tell him to hurry.(SFX: ELECTRIC SCREWDRIVER B.G.) CUT TO: EXT. CEMETERY - DAY SOLDIER: (V.O.) We need to hurry this up. MAN TWO: Yeah, that's it. (SFX: MEN PRY OPEN THE CASKET) SOLDIER: They buried these things so the South could rise again, and now they are all mine. MAN TWO: There's got to be fifty of them here. At thirty grand a pop, that's uh... ZIVA: One point five million. Your rfle is ten feet away. I wouldn't recommend trying it. BRETT: (V.O.) I didn't do anything wrong. CUT TO: EXT. bttlefield CLEARING - DAY TONY: No? What about resisting arrest, Kearns. And what's that other charge, McGee? MCGEE: mrder Staff Sergeant Warren Sorrow. BRETT: Sorrow's dad? No way. You guys can't pin that on me! I wouldn't! They told me he got scared and took off. GIBBS: He was buried alive in a coffin, dirtbag. BRETT: I didn't sign up for this. All she said I had to do was distract you. GIBBS: DiNozzo, come on. CUT TO: EXT. CEMETERY - DAY ZIVA: Ducky! Ducky, where is Gibbs?! BURNS: Ducky can't answer right now. Drop the gn now or he dies. DUCKY: I knew there was a reason I blocked you out of my mind. BURNS: Last time I ask. Drop it! DUCKY: sh*t her, Ziva. She'll only kll both of us. ZIVA: And those wapon? That is why you klled that poor Staff Sergeant? BURNS: He found Oxbow's casket on the map. He actually wanted to turn them over to a museum. SOLDIER: The only mistake we made was klling him before we got the map. BURNS: You two are going to be the unfortunate victims of scavengers. (MUSIC OVER ACTION/DUCKY FALLS FORWARD/ ZIVA THROWS A Knfe) (SFX: g*n) (GIBBS AND TONY RUN TO THE CEMETERY) TONY: Remind me not to piss her off. GIBBS: Oh, DiNozzo, you have no idea. CUT TO: INT. SQUAD ROOM - NIGHT ZIVA: She's gone, Gibbs. I don't think Kate would mind. I found this, but I have a feeling she would have wanted you to have it. See you in the morning. (MUSIC OVER ACTION/GIBBS LOOKS AT THE SKETCH BOOK) (MUSIC UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x04 - Silver w*r"}	foreverdreaming
MUSIC IN: INT. CAR - MOVING WENDY: (V.O./FILTERED) Well, what do you want? JERRY: (INTO PHONE) Honey, I don't care. Whatever you want. WENDY: (V.O./FILTERED) You don't care? JERRY: (INTO PHONE) I didn't mean I don't care like that. I'm just not that picky. WENDY: (V.O./FILTERED) How come I always come up with the ideas? JERRY: (INTO PHONE) Why don't you make that thing you made the first night I came over? WENDY: (V.O./FILTERED) What was that thing I made? JERRY: (INTO PHONE) It had a green sauce, right? WENDY: (V.O./FILTERED) You don't even know, do you? JERRY: (INTO PHONE) Honey, do we have to do this now? WENDY: (V.O./FILTERED) You never remember anything we've done. JERRY: (INTO PHONE) It's our anniversary! WENDY: (V.O./FILTERED) You never listen to me! In fact, Jerry... (SFX: gn) WENDY: (V.O./FILTERED) Jerry! Jerry! (MUSIC OVER ACTION/CAR CRASHES OVER THE EMBANKMENT) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "SWITCH" TONY: Hey, finish that database yet, Probie? MCGEE: Yesterday. TONY: Well then it should have been on my desk yesterday, shouldn't it? MCGEE: I didn't realize a compilation of nudie bars was that urgent. TONY: Well, it is. MCGEE: Why? TONY: I don't have to explain myself to a junior agent. MCGEE: Okay, is this work related because..? TONY: But I will just this once. It's a mercy mission, Probie. A buddy of mine is getting married to a particularly unpleasant beast of a woman. MCGEE: So? TONY: So? So the memory of his bachelor party will be the only thing that sustains him through the rest of his miserable existence. MCGEE: I will print it out as soon as I'm finished with this, okay? TONY: On behalf of men everywhere we thank you, Probie. What are you working on? MCGEE: I'm reviewing my credit card statement - there appears to be some anomalies. TONY: Fifty DVD copies of Forrest Hump? MCGEE: Yeah, see I don't even know what a Forrest Hump is. TONY: Well, it's like Forrest Gump with naked people, Probie. MCGEE: What? TONY: It's a prn... or so I've been told. MCGEE: It's... it's obviously an error with the credit card company. TONY: Or it's identity theft! MCGEE: No. It's not possible. I use a secure browser and the latest firewall protection. TONY: Look at that. A five thousand dollar charge from John Deere. A down payment on that combine you've always dreamed of, Probie. GIBBS: Put the farm equipment on hold. A sailor was sht on Route Two Forty Nine. Tony, grab the gear. Green Acres -- gas the truck. Where the hell is David? MCGEE: Ah, Boss, Officer David is... uh... ZIVA: Late. I took the wrong bus this morning. Had to walk from the Eighteenth Street stop. TONY: That's a tough part of town. ZIVA: I've been in worse. Won't happen again, Gibbs. GIBBS: I know. CUT TO: EXT. SIDE OF THE ROAD - DAY HAMPTON: Special Agent Gibbs? TONY: No, he's the older gentleman with the smile on his face. HAMPTON: Agent Gibbs, car's in the crevice at the bottom. The victim's dad inside. Lieutenant Hampton, Virginia State Police. The last few yards are pretty steep. One of the EMTs managed to make it all the way down. The fre department's bringing in special equipment to extricate the body. It's going to take a while. GIBBS: McGee. MCGEE: Yeah. GIBBS: Sketch. Get close enough without breaking your neck. MCGEE: On it. GIBBS: DiNozzo, photos. Is there a problem? TONY: You didn't say anything about my neck. But I'll be careful. ZIVA: What about me? GIBBS: Who called it in? HAMPTON: His wife. She was on the phone with him when it happened. GIBBS: Officer David, take her statement. ZIVA: I should warn you I'm not very good with women. GIBBS: Well that'll make two things you're not very good at today. ZIVA: And the first!? GIBBS: Being on time. DUCKY: I'm sorry for the delay, Jethro. JIMMY: Traffic was mrder. Sorry, poor choice of words there. GIBBS: See what you can get, Duck. He's trapped in there pretty good. DUCKY: Oh, we'll do our best. But I hope you brought more appropriate footwear, Mister Palmer. Our journey to our Petty Officer looks rather challenging. JIMMY: Don't worry, Doctor. I have a merit badge in hiking. DUCKY: I have a driver's license, Mister Palmer. It doesn't mean I turn up at Indianapolis in my Morgan. CUT TO: EXT. SIDE OF HIGHWAY - DAY ZIVA: You were on the phone with him when he was sht? WENDY: He couldn't remember pesto and it pissed me off. How stupid is that? ZIVA: Could you tell me how many shts? WENDY: Do you know what the last words I said to him were? I called him a bastard and I can't take it back. Not now I can't. CUT TO: EXT. CLEARING - DAY TONY: If it's any consolation, Probie, I had my identity stolen once. MCGEE: Really? TONY: I had a charge on my VISA for a vintage Barbie doll. Career Girl outfit. MCGEE: Ooh, with the matching briefcase and pumps? Oh, I had a girlfriend who collected once. We used to line them up on the.... TONY: I lost respect for you at the word pumps. Back to work. MCGEE: It's kind of hard to sketch from this distance. TONY: Well, don't get any closer. It gets steeper as it gets deeper. One false move and-- (F/X: JIMMY RUNS PAST) JIMMY: Whoa! Whoa! Ah!! TONY: Good hustle, Palmer. CUT TO: EXT. STREET - DAY ZIVA: No skid marks. He didn't attempt to control the car before it went over. They were having an argument over a six month anniversary. I don't understand the half year thing. I thought perhaps... GIBBS: I don't understand anniversaries, period. ZIVA: Apparently, neither did her husband. She was screaming at him on the phone when she heard a loud gn followed by the crash. GIBBS: What else? ZIVA: She could hear a low moan for a few minutes after impact. CUT TO: EXT. RAVINE - DAY JIMMY: Oh, yeah. I think it's sprained, guys. Oh, Doctor Mallard's going to be upset, isn't he? MCGEE: Ah, wouldn't worry about him, but if Gibbs sees you wearing loafers at a crime scene.... TONY: He'll pretty much kll you dad. JIMMY: (IN PAIN) Ach!(TONY TOUCHES JIMMY'S ANKLE) CUT TO: EXT. CAR - DAY (SFX: DUCKY MOVES QUICKLY THROUGH THE BUSHES) DUCKY: Ah! They were having a little trouble with the help. Nothing for you to worry about. It's going to take more time than usual, but we're going to get you out of there, I promise. (SHOUTS) Is anybody going to (V.O.) join me down here? MCGEE: Uh.. Gibbs said not to get too close! TONY: Yeah, you really shouldn't be down there, Ducky. It's not safe. DUCKY: The exit wound to the Petty Officer's neck seems to indicate the bllet went straight through. (V.O.) There could be a spent round that might be crucial to our investigation. MCGEE: Why, as you've pointed out many times, I'm just a junior field agent. TONY: All the more reason you need the experience, Probie. MCGEE: How about I follow in your footsteps? You lead the way. TONY: How about you kiss my experienced buttocks? DUCKY: Am I going to have (ON CAMERA) to call Jethro (V.O.) on this one, gentlemen? TONY: No, we're good. The chances of finding that bllet are.... CUT TO: INT. LAB - DAY ABBY: One in a million. You've got to see this, Gibbs. The grooves made that pattern. It's the exact same design as the cover of Plastic Death's second CD. Don't even tell me you don't know who Classic Death is because it's only like my favorite... GIBBS: Not now, Abby. ABBY: But it could be a sign, Gibbs. Like that tortilla skillet with the image of Jesus in it. They thought that was a miracle. GIBBS: It'll be a miracle if you still have a job if you don't get back on topic. ABBY: I see your point, O Great One. This is me getting back on topic. Nine millimeter. A hundred and twenty grain. The window was rolled up when he was sht. GIBBS: Glass. ABBY: There's traces in the rifling. GIBBS: Manufacturer. ABBY: Can't tell. I'm going to plug this into the FBI's DRUGFIRE database, and see if I get a match. But... GIBBS: But it's going to take a while. ABBY: See? Mind reading. There may be something supernatural going on here. GIBBS: Let me know when you have something. ABBY: I'll bet I could see this on eBay! Did you know they got twenty eight grand for the grilled cheese sandwich with the image of the Virgin Mary on it? Gibbs? CUT TO: INT. SQUAD ROOM - DAY MCGEE: Preliminary trajectory shows that the bllet passed straight through the driver's side window. So I recommend we search the area along this path looking for spent brass. ZIVA: You won't find it. Nine millimeter rounds are slow and only accurate to about thirty meters. The sht was in a moving car that pulled up alongside. TONY: Yeah, that is one possibility, Ziva. But, you see, we're investigators, which means we investigate things. We don't assume. GIBBS: She's right. Wife said she heard the gn over the phone. The sh*t had to be close. ZIVA: Thank you. GIBBS: What do we know about Petty Officer Smith? MCGEE: Ah, ran his military I.D. He was a clerk at Norfolk. Had four months left before his discharge. GIBBS: Tony, take Ziva with you and check with the C.O. When you're done with that, sweep the trajectory for brass. ZIVA: But why? You just said... GIBBS: Because DiNozzo's right, too. CUT TO: INT. NORFOLK NAVAL STATION - DAY ZIVA: All of these people are in the military. TONY: Yeah, the uniforms are kind of a dad giveaway. ZIVA: Then why aren't they armed? TONY: Because we're in America, and the machine gn would just get in the way. MORRIS: (INTO PHONE) All right. Okay. TONY: Commander. MORRIS: What can I do for NCIS today? TONY: I'm sorry I have to tell you this, Sir, but one of your men was klled this morning. MORRIS: My god, who? ZIVA: Petty Officer Jerry Smith. MORRIS: Smith? TONY: He was sht on Route Two Forty Nine on his way into work. MORRIS: I think you have my man confused with someone else. That's Petty Officer Jerry Smith right over there. (MUSIC UP AND OUT) FADE IN: INT. OUTER OFFICE - DAY SMITH: Why would anyone want to impersonate me? ZIVA: Let's see. Blackmail, espionage, terrorism, potential assassination. SMITH: I'm just... I'm just a clerk, Ma'am. I don't even have a security clearance or anything. ZIVA: What kind of a clerk? SMITH: I'm in a supply unit. I'm a SK-Two. ZIVA: I'm new to NCIS, Petty Officer. You're going to have to be more specific. SMITH: Well, basically I'm just a storekeeper. Um... like today I filled requests for T.P., liquid soap, toilet-seat covers. We call it getting ahead day. Because in the Navy, the head is another word... ZIVA: For the toilet. Yes, I know. Perhaps this has something to do with your personal life? SMITH: Well, probably not. I don't really have one. I mean, most nights I just go home and surf the web or watch reality TV. Really into Survivor. Average Joe. The Amazing Race is cool. I like Extreme Makeover, but.... ZIVA: I don't own a TV. SMITH: Really? Wow, I don't think I've ever met someone who didn't... ZIVA: What does your wife think about all of this nightly stimulation? PETTY OFFICER: I don't have a wife. No girlfriend either. I just don't really seem to do very well in that department. It's just me and Max. ZIVA: Max is your boyfriend? PETTY OFFICER: No. No! Geez, I'm like as straight as they come. Max is a Marmoset. ZIVA: A monkey. PETTY OFFICER: A pet. Nothing more. ZIVA: That's.... reassuring, Petty Officer. PETTY OFFICER: A buddy of mine was shipping out. He was in a bind. I said no way, but when I got one look at the little guy... he's just so damn cute, Ma'am. MORRIS: (V.O.) Petty Officer Smith... (ZIVA CHUCKLES) CUT TO: INT. OFFICE - DAY MORRIS: ...Was transferred from Pearl about the same time I was, Agent DiNozzo. TONY: You serve with him there? MORRIS: Different units. We never crossed paths until this Command. TONY: What kind of a sailor is he? MORRIS: Officially? He's never missed a day's work. He's always on time. TONY: I'm more interested in unofficially, Commander. MORRIS: It's not in my nature to be disparaging. TONY: Well, I've got a body lying on a slab back at NCIS. So by all means, disparage away. MORRIS: I guess you could say Petty Officer Smith is not the brightest sailor that I've ever commanded. Now that I say it out loud, the thought occurs to me that could very well be the reason that someone found it so easy to steal his identity. TONY: Can you think of any reason why someone would want to impersonate him? MORRIS: God no, Agent DiNozzo. God no! CUT TO: INT. SQUAD ROOM - DAY (MCGEE SLAMS THE PHONE ON THE RECEIVER) TONY: More prn? GIBBS: What do we have, McGee? MCGEE: Three more charges since yesterday. Sorry. Sorry, boss. Um... uh... cell phone records are downloading now. Okay, it looks like Petty Officer Smith... Petty Officer Smith in the car not the one on base who's the real Smith... GIBBS: Yeah, I got it, McGee. MCGEE: Well he was definitely talking to Mrs. Smith, if that is her real name. GIBBS: McGee! MCGEE: Ah... he was talking to her at their home from his cell just before she called in the accident. I've got an address here. It's an apartment in Newport News. Lease is in the wife's name. GIBBS: Ziva, you're with me. ZIVA: (INTO PHONE) Possibly a point man for an operational reconnaissance of the Naval Base. I-- (GIBBS HANGS UP THE PHONE) TONY: That means you go with him. MCGEE: Now. TONY: Preferably before the elevator doors close.(SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED/ OPEN): CUT TO: INT. ELEVATOR - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) ZIVA: You just hung up on Director Shepard. GIBBS: Uh huh. ZIVA: In my country, the officer in charge is always treated with... GIBBS: In my country on my team working my cases, my people don't bypass the chain of command. ZIVA: Which is? GIBBS: Me! Are we clear on that, Officer David? ZIVA: Crystal, Agent Gibbs. (SFX: ELEVATOR POWER ON THEN OFF) ZIVA: Except she called me. What would you have me do? GIBBS: Smile. Talk about the weather. Tell her to call me. ZIVA: And if that doesn't work? GIBBS: You're a smart girl. Think of something.(SFX: ELEVATOR POWER ON) ZIVA: I am merely trying to do my job.(SFX: ELEVATOR POWER OFF) GIBBS: Your job is to follow my instructions. ZIVA: And I respect that. Is it too much to ask for some in return? GIBBS: (LONG bat) No. It's not. ZIVA: So that's it? GIBBS: Mm-hmm. ZIVA: Don't I even get a slap on the head? GIBBS: Don't push it. ZIVA: Just to be clear, are there any more of these rules I should be aware of? GIBBS: About fifty of them. ZIVA: Ha ha! And I don't suppose they're written down anywhere that I could...? GIBBS: No. ZIVA: Then how am I supposed to... GIBBS: My job is to teach them to you. CUT TO: INT. WENDY'S HOUSE - DAY GIBBS: No picture of your husband in uniform? WENDY: Jerry hated the Navy. He only joined for the money they'd give him for college. But he couldn't wait to get out. I was so mean to him on the phone. It was our half-anniversary. ZIVA: We know. A very special occasion. WENDY: Why can't men understand that? GIBBS: Your husband talk about his work much, Mrs. Smith? WENDY: Never. He wouldn't even let me visit him on base or even call him there. ZIVA: You never saw him at his work? GIBBS: You never dropped him off? WENDY: I told you he hated the Navy. Every morning he'd put on his uniform and go to the office. As soon as he got home, couldn't get out of it fast enough. ZIVA: You didn't know Jerry long before you married, did you? WENDY: Only three months. I know! It was crazy! It just felt right, you know? Jerry was the first truly decent man I'd ever met. (bat) What's going on here? ZIVA: This is Petty Officer Jerry Smith. He's been working at Norfolk for about four months. His Commanding Officer confirmed it. GIBBS: He look familiar? ZIVA: I don't know this man. I don't understand. ZIVA: Neither do we. CUT TO: INT. AUTOPSY ROOM - DAY JIMMY: Ow! DUCKY: Discoloration indicates blunt forced trauma. Yes, these abdominal bruises here in this area are consistent with the door frame crushing against his body. JIMMY: You think Epsom salt reduces the swelling faster? DUCKY: Mister Palmer, I'm sure our mystery guest would appreciate it if you could concentrate all your efforts on helping me to discover the cause of his demise, rather than obsessing on how you will look in shorts this weekend. JIMMY: Sorry, Doctor. DUCKY: Actually, I found the ladies tend to be sympathetic towards visible injury. JIMMY: Really? DUCKY: Yes. My first year in college I suffered an unfortunate injury to my testicles. The excruciating pain was offset by an impressive swelling, which Ramona Kincaid, bless her heart, found extremely fascinating. Yeah... huh....the bllet wound to the neck evaded the anterior triangle, thus missing both the carotid artery and jugular vein. JIMMY: Most of the damage was muscular. DUCKY: It also grazed the esophagus and thyroid. Oh, dear. Severe damage to the liver, pancreas, spleen. Oh and there's a nasty tear to the left ventricle caused by a bruised rib. JIMMY: Cause of death is from the trauma of the crash. DUCKY: You just earned yourself another merit badge, Mister Palmer. He was alive for several minutes after he was sht. Sorry to have to say it, my poor fellow, but you'd have been better off if your assassin had been a more precise marksman. CUT TO: INT. LAB - DAY (MUSIC PLAYS B.G.) (MUSIC OVER ACTION/ABBY PERFORMS TESTS) (SFX: KEYBOARDING) CUT TO: INT. CAR - MOVING ZIVA: You know, this case reminds me of something my father used to tell me as a child. Really, Ziva? What was that? He would say that no one could ever truly know another person or their secrets. I, of course, refused... to believe him. And now Ziva? As an adult, I believe he was never more honest with me. What do you believe, Gibbs? GIBBS: I think I really got to get the radio in this car fixed. (PHONE RINGS) GIBBS: (INTO PHONE) Yeah Abby? ABBY: (V.O./FILTERED) I've got a match...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) ... Of a dad guy's prints, Gibbs. (SCENE CUT) ABBY: (V.O./FILTERED) From the AFIS database. GIBBS: (INTO PHONE) He's in the military? (SCENE CUT) ABBY: (INTO PHONE) Anchors away, Gibbs-o. GIBBS: (V.O./FILTERED) Who? ABBY: (INTO PHONE) You're not going to believe it. (SCENE CUT) GIBBS: (INTO PHONE) Try me. ABBY: (V.O./FILTERED) You're not! GIBBS: (INTO PHONE) Who the hell is he, Abs? (SCENE CUT) ABBY: (INTO PHONE) Petty Officer Jerry Smith. He actually is Petty Officer Jerry Smith. He's stationed at the Regional Supply Office in Norfolk. (MUSIC OUT) FADE IN: INT. SQUAD ROOM - DAY MCGEE: Okay, the dad guy downstairs who we thought was impersonating Petty Officer Jerry Smith is actually the real Petty Officer Jerry Smith. And that Jerry Smith Tony and Ziva talked to Norfolk turns out to be the fake Jerry Smith and... it's confusing. TONY: Kind of like the pellet with the poison's in the vessel with the pestile; the chalice from the palace has the brew that is true. Court Jester? Danny Kaye? Come on, guys, it's a classic! (SFX: GIBBS SLAPS TONY) TONY: Thank you, Boss. GIBBS: Who is he, McGee? MCGEE: John Kirby. We lifted his prints from his desk at Norfolk. TONY: His empty desk. He didn't report for duty today. MCGEE: He and Smith had overlapping tours at Jacksonville in oh-two. Kirby was discharged in oh-three. TONY: Honorably. MCGEE: Boss, these guys must've had this planned from the first day of Smith's new assignment. GIBBS: Think so, McGee? I'm gonna need Kirby's... MCGEE: Address. He lives on West Little Creek. Been there about a year. And the warrant. GIBBS: DiNozzo, David, take a ride. TONY: You got it, Boss. GIBBS: Put a BOLO out on Kirby with the FBI, local and state. MCGEE: Already done, Boss. ZIVA: Bolo? TONY: Be on the look out. GIBBS: Good job, McGee. Go on. Catch up to them. TONY: Good job, McGee.(SFX: ELEVATOR DOORS SLIDE OPEN) ZIVA: Is he always this juvenile? MCGEE: Only on days of the week ending with the word day. CUT TO: EXT. NCIS PARKING LOT - DAY ZIVA: I'll drive, Tony. TONY: No no no no. Not gonna make that mistake again. ZIVA: Did you really think my driving was that terrible? Aside from the high speed and near misses. TONY: Let's just say it's an acquired taste, like regurgitated lunch. MCGEE: That's disgusting, DiNozzo. TONY: Tell me about it, Probie. That chili cheese dog was hard to chew the second time around. MCGEE: Maybe we should give her another chance. It's not like she klled or maimed anyone. TONY: Maybe we should concentrate on why John Kirby switched places with Seaman Smith at Norfolk and leave Death Wish for another day. ZIVA: He could very well be an assassin. TONY: He works in a supply office. Who's he going to assassinate? Mister Clean? ZIVA: All the better not to draw attention to himself. MCGEE: She's right. It's a big base. Lot of targets. TONY: I don't know. Look at the guy. He's such a... ZIVA: Pimp. TONY AND MCGEE: (IN UNISON) Wimp. ZIVA: Very much in line with other assassins. MCGEE: She's right, Tony. Look at Lee Harvey Oswald, Sirhan Sirhan. (ALL CLIMB INTO THE CAR) TONY: That's original, McGee. Is there any part of your brain that's your own? MCGEE: At least I have one, Tony. TONY: What's that supposed to mean? MCGEE: Nothing. TONY: We're not going anywhere. MCGEE: What, until I apologize? TONY: No, not until you apologize. We're in the wrong damn car. CUT TO: INT. GARAGE - DAY GIBBS: What'd you find, Abs? ABBY: After the car crashed through the railing, it went end over end for about a hundred feet, before finally slamming to a stop up against a boulder which crushed the driver's side door into his body, which led to a lot of blood. I also found these in the trunk; three identical sets of Hawaiian shirts and khaki pants. GIBBS: Correction. Did you find anything useful? ABBY: Maybe. But it's probably nothing. GIBBS: Do not make me say a magic word now, Abs. ABBY: Of course not. But it is a cool idea. It's in the blood patterns. The residual splatter from where the blood struck is there. Exit wound splatter is there. Dropping suddenly from the angle of the impact. GIBBS: Normal when they pass through flesh. ABBY: Very good, Gibbs! But that would be the case of a Senior Lead Special Agent who's worked hundreds of crime-scene investigations throughout his storied career. GIBBS: I'd hate to start smacking you like I do DiNozzo. ABBY: You wouldn't. You would? GIBBS: It won't be on the head. ABBY: The blood here is darker, and the pattern is random. GIBBS: Skip to the probably nothing part, will you? ABBY: The trail of splattering is wider than you'd expect. And the blood is smeared somewhat here... like something brushed up against it. GIBBS: What? ABBY: I have absolutely no idea. That would be the probably nothing part. But I haven't analyzed it in my computer yet. GIBBS: Do it.(SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) CUT TO: INT. BEDROOM - DAY TONY: Oh, I love Hawaiian shirts. ZIVA: I'm not surprised. TONY: It's a cultural experience you couldn't appreciate. Isn't that right, Probie? MCGEE: I wouldn't be caught dad in one. TONY: (GASPS) It can't be!! Do you realize what we have here? ZIVA: Another ugly shirt? TONY: It's an authentic Magnum, P.I. Jungle Bird design. Hundred percent cotton, bamboo buttons, Made in Hawaii label! Come on, this is the Holy Grail of Aloha garments. MCGEE: That's great. TONY: Eight seasons Magnum wore this shirt. Putting up with Higgins and those stupid dogs. Zeus! Apollo! The TV show was big in the Eighties. ZIVA: I know who Tom Selleck is, Tony. The hot, sexy American man of adventure. TONY: He was ...he was good, sure. But take away the shirt, the mustache, Detroit Tigers hat, Ferrari, the Audi, wine cellar, Robin Masters' estate, Rick, T.C. and the helicopter. MCGEE: Well, it looks like Kirby has not checked his email or even turned on his computer since yesterday. ZIVA: Once he saw us at Norfolk, he must have taken a kite. TONY: Hike. The expression is taking a hike. MCGEE: She may have had it confused with "go fly a kite." ZIVA: I speak five languages, forgive me if I get confused sometimes. I found his bank book. TONY: Check book. ZIVA: Whatever you call it. His deposits seem high. TONY: Where you come from, they may seem high but here in the good ol' U.S. of A - these are really, really high. (SFX: BANGING NOISE) ZIVA: I think it's the... TONY: Shh... (MUSIC OVER ACTION/THEY WALK TO THE KITCHEN) (SFX: CUPBOARD OPENS) (SFX: MARMOSET SHRIEKS) TONY: It's a... ZIVA: It's a marmoset. MCGEE: Actually, that's a capuchin. ZIVA: I don't advise sh*ting him. Americans and their pets. It will be a public relations nightmare. TONY: You knew all about this, didn't you? ZIVA: I tried to tell you, but you shushed me. TONY: Well next time try harder. ZIVA: His name is Max. MCGEE: Oh, ad a Snapple cap that said that the most popular name for a pet in the United States is Max. TONY: That's funny, I thought it was Tim. CUT TO: INT. HOUSE - DAY GIBBS: We know that your husband and John Kirby served together. And we also know that they switched places. It's a Federal crime to impersonate military personnel. GIBBS: (CONT.) Which means that withholding any information is a chargeable offense. So what do you know, Mrs. Smith? WENDY: I lied before. I saw the other man once. GIBBS: When? WENDY: Um... right after we moved here from Hawaii. I came home early from yoga. I wasn't feeling well. He was with Jerry in the den. Jerry was upset. It was clear I'd interrupted them. When he left, he said I should forget I ever saw him, and never tell anyone. Do you think he's the one who klled my husband? CUT TO: INT. LAB - DAY MCGEE: Kirby was getting emails from an anonymous internet account several times a week. Each one was just a time and a location. ABBY: The times were random all throughout the day and the locations were business and residential addresses all throughout Norfolk. TONY: How long have they been coming in? ABBY: About four months. TONY: Same time Kirby's been posing as Smith. MCGEE: You think Kirby was doing Smith's job, while Smith was doing Kirby's? ZIVA: I've seen communications like this before. GIBBS: So have I. ZIVA: Many intelligence agencies use this technique for arranging a drop-off. I believe you refer to them as goblins. TONY: Spooks. The term is spooks. ABBY: According to this there's a drop scheduled for this afternoon, Gibbs. GIBBS: Where and when, Abs? ABBY: Granby and Harbor, southeast corner, fourteen hundred. GIBBS: One of you is going to have to pose as Kirby. CUT TO: INT. SQUAD ROOM - DAY TONY: Nah, that really doesn't work for him. MCGEE: Boss, for once I've got to agree with Tony here. I don't think I'm a Hawaiian shirt type. GIBBS: You're the closest we've got to age and looks to Smith and Kirby, McGee. ZIVA: Which won't matter if whoever he's meeting with knows their faces. GIBBS: No, it won't. But if it doesn't, we just might get something. Which is more than we have now. DiNozzo, you and Ziva will be here mobile on Granby, as far down as you can be while maintaining visual contact. I'll be over here on Harbor. McGee, we do not know what we have here. So go with the flow. If it gets hinky, call it. ZIVA: Hinky? What's hinky? TONY: You know, like when your gut is telling you something? ZIVA: Oh, I see. In my country we refer to that as gas. CUT TO: EXT. INTERSECTION - DAY GIBBS: (V.O./FILTERED) You got a visual, DiNozzo? TONY: Affirmative, Boss. Suck that gut in, Probie. MCGEE: Guy with the briefcase. GIBBS: I got him, McGee. ZIVA: The logistics for the drop may only start here, McGee. Look for any sign. MCGEE: (V.O./FILTERED) Like what? ZIVA: (V.O.) A hand gesture, the angle he holds his briefcase. MCGEE: (V.O./FILTERED) It's nothing, Boss. (SFX: TRUCK BREAKS TO A STOP) TONY: Lost the visual. GIBBS: Same here, DiNozzo. Move up the block. (MUSIC OVER ACTION/CAMERA ANGLES ON THE STREET) YOUNG WOMAN: There's a park bench across the street from the Baltimore Museum of Art. (V.O./FILTERED) Leave it underneath. ZIVA: Girl with the back. GIBBS: Wait McGee, (V.O./FILTERED) for her to make the move. YOUNG WOMAN: Don't be late. MCGEE: Right. (SMITH WALKS AROUND THE CORNER/MCGEE AND YOUNG WOMAN STRUGGLE OVER THE BRIEFCASE) TONY: Kirby, my nine o'clock, Boss! GIBBS: (V.O./FILTERED) I got him! Get the girl! (ON CAMERA) Go! Go! (V.O./FILTERED) Go! Go! Go! Go! Go! (MUSIC OVER ACTION//GIBBS AND TONY CHASE KIRBY/WOMAN DRIVES AWAY ON A SCOOTER) TONY: We lost her. ZIVA: More like she lost us. (FADE OUT) FADE IN: INT. LAB - DAY ABBY: There are three wheels, numbered zero through nine each. That's a thousand possibilities. GIBBS: Then your fingers better get busy. ABBY: Wait, there's more. The seams are filled with something that looks like an epoxy material. It may be for waterproofing. GIBBS: Or to hold explsive components in place until they're exploded. ABBY: Bada-boom. GIBBS: X-rays. ABBY: Didn't penetrate. The metal's high density steel, probably with a thin layer of lead sheeting. The nitrate sniffer came up negative as well. GIBBS: That's because of the epoxy. ABBY: Probably. Gibbs, it might not be rigged with a bmb, per se. I love saying per se. It's one of those phrases nobody really knows what it means but you say it anyway. Am I off topic again? GIBBS: Big time. ABBY: Um... it could be armed with something like formic acid in a glass liner. GIBBS: Destroy the contents if opened incorrectly. ABBY: There's also the possibility it could be nothing. It's just a whole lot of bluff to scare anyone from taking a peek inside. GIBBS: Do we have a bottom line here, Abs? ABBY: We do. Do you want to hear it? GIBBS: Yes. ABBY: The bmb squad is coming to pick this up. They're going to do their thing and then I will get to the bottom of this, Gibbs. But... GIBBS: It's going to take time. ABBY: See? We are having a melding of the minds. CUT TO: INT. SQUAD ROOM - DAY TONY: It was called The Transporter. MCGEE: Didn't see it. TONY: Cool British guy delivers illegal stuff for a price. Obviously what Smith was doing. Then what Kirby was doing. Then what you were doing, Probie. Only badly. MCGEE: Yeah, I got the case, didn't I? TONY: You're missing the point. MCGEE: How could there possibly be a point? ZIVA: I think what Agent DiNozzo means is that the Transporter would have gotten the case, gotten the girl, and still have held on to his cappuccino. TONY: Exactly. Speaking of movies, you know what I was thinking about, Probie? MCGEE: Really not interested, Tony. TONY: Mister and Mrs. Smith. Identity mystery. Then there's our Smith. Identity mystery. And if it turns out the guy charging prn and tractors on your credit card is a Smith, then that would be a mystery. MCGEE: (OVERLAP) Uh.. Tony? TONY: Not now, Probie. I'm almost done with this level. (bat) Find out what was in the case yet, Boss? ZIVA: Are you going to interrogate Kirby now? GIBBS: No. ZIVA: That is a mistake. The longer we wait, the more time he has to-- GIBBS: I am going to be interrogating Kirby. You and DiNozzo will be observing. (GIBBS WALKS O.S.) ZIVA: It takes a while for him to warm up to people, doesn't it? TONY: Want to know the secret about getting on his good side? ZIVA: Of course. TONY: Me, too. CUT TO: INT. INTERVIEW ROOM - DAY KIRBY: I didn't kll Jerry. CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: (FILTERED) I know. We checked. CUT TO: INT. INTERVIEW ROOM - DAY GIBBS: You were on base when it happened. KIRBY: So... can I go now? GIBBS: Impersonating a Petty Officer. That's a felony. Lying during a Federal investigation. Felony. Resisting arrest. That's a misdemeanor. Not to mention what we have in that case downstairs. KIRBY: You looked in the case? Look, I was only trying to help. I swear to you. INT. OBSERVATION ROOM - DAY KIRBY: It wasn't even my idea. ZIVA: I doubt this has anything to do with espionage, Tony. Kirby's far too stupid for this line of work. CUT TO: INT. INTERVIEW ROOM - DAY GIBBS: Why did you two switch places? KIRBY: Because Jerry... he couldn't keep it in his damn pants. CUT TO: INT. OBSERVATION ROOM - DAY ZIVA: Keep what in his pants? TONY: You're kidding, right? Come on. (SFX: TONY SINGS/DANCES) ZIVA: Dancing? TONY: Yeah, dancing. GIBBS: (V.O.) What happened? CUT TO: INT. INTERVIEW ROOM - DAY KIRBY: He'd been fooling around with this officer's wife over at Pearl. One night the Officer came home early and caught him in the act. He got a good look at Jerry's face, but he didn't recognize him. CUT TO: INT. OBSERVATION ROOM - DAY KIRBY: (FILTERED) Jerry wasn't worried. CUT TO: INT. INTERVIEW ROOM - DAY KIRBY: He knew he was shipping out the next week, and they'd never met before. That was the good news. GIBBS: Until he got the bad news. KIRBY: The husband was going to be his C.O. in Norfolk. GIBBS: Commander Morris. CUT TO: INT. OBSERVATION ROOM - DAY KIRBY: (FILTERED) Yes, Sir. Jerry only had four months left to an honorable discharge. CUT TO: INT. INTERVIEW ROOM - DAY KIRBY: Morris would have made sure that didn't happen. GIBBS: Who else knew about it? KIRBY: No one. That's why Jerry begged me to switch places with him. Except I couldn't leave my job. GIBBS: Delivering illegal goods. KIRBY: Wait. I mean, I didn't even know what was in the cases. I was strictly transportation. GIBBS: Hey Kirby, they weren't exactly using FedEx. KIRBY: It was stupid, I know. GIBBS: (CHUCKLES) Yeah. CUT TO: INT. OBSERVATION ROOM - DAY KIRBY: But the money was really good. CUT TO: INT. OBSERVATION ROOM - DAY KIRBY: Life since the Navy is kind of hard on me. GIBBS: You never looked inside? KIRBY: No. There were only two rules. Be on time and don't look in the cases. Jerry... I guess he looked. GIBBS: Then they klled him for it. KIRBY: I think... I think I want to get a lawyer now. GIBBS: Oh, yeah. You're going to need one. CUT TO: INT. LAB - DAY ABBY: Remember that smeared area that I thought was probably nothing? Well, it probably might not be probably nothing. GIBBS: I'm not saying a magic word, Abs. ABBY: Okay, this is the windshield of the vehicle. See the smeared marks? There's four of them. And they connect together. Now, step back and squint. GIBBS: At what? ABBY: Just do it, Gibbs, like when you're trying to figure out the hidden message in the bad three-D art at the fair. This is important. Try to see the bigger picture for once! (bat) See it? GIBBS: Maybe an "M". ABBY: Yes, Gibbs, yes. Those smears were smeared on purpose. Now, these are the photographs of Petty Officer Smith's body before it was washed. He has blood on his right index finger. There were no lacerations on that hand. GIBBS: Petty Officer Smith used his finger to write a message in his own blood. ABBY: Sometimes people in the throes of death try to communicate. Like that guy in the L.A. MetroRail crash? He wrote "I love you" to his wife in his own blood. GIBBS: He did? ABBY: He did. But Petty Officer Smith is trying to tell us who klled him. What does "M" mean? TONY: (V.O.) Commander Morris. CUT TO: INT. OFFICE - DAY MORRIS: How could you think that I had anything to do with his mrder? TONY: Because you found out he was the sailor sleeping with your wife at Pearl. ZIVA: Yes, Commander, at Pearl Harbor. MORRIS: That was Smith? If I had known who he was I would have klled him myself. But I didn't. I was here that morning. There's a dozen witnesses who will vouch for that. CUT TO: INT. SQUAD ROOM - DAY ZIVA: Surveillance camera at the main gate has Commander Morris coming on base an hour before Smith's time of death. GIBBS: Leeway time of death? TONY: Ducky says fifteen, maybe twenty minutes. GIBBS: Drive time to the crime scene? TONY: Thirty minutes. Fifteen if you're driving. ZIVA: Seven sailors in his office all verify he was in the supply unit until we showed up. GIBBS: Where in the supply unit? ZIVA: Mostly in his private office, behind closed doors. GIBBS: Was there another exit? Could he have left unseen through a window? TONY: Windows don't open, Boss. Solid plate glass. MCGEE: Commander Morris couldn't have been at the crime scene. GIBBS: I know that, McGee. TONY: He knows that, McGee! ZIVA: His mrder has to be related to the delivery service. TONY: Which we know nothing about. MCGEE: Kirby claims he didn't even know who he was working for. GIBBS: Was Petty Officer Smith wearing his seatbelt when he crashed? (LOUDLY) Was Petty Officer Smith wearing a seatbelt?! ALL: No! He wasn't wearing a seatbelt in the crash! GIBBS: He was in an unnaturally contorted position! MCGEE: Yes. Very... very unusual. I can flip the image... only if you want. ZIVA: "W." TONY: What was the wife's name again? ZIVA: It's Wendy. CUT TO: INT. LIVING ROOM - DAY GIBBS: You discovered your husband was cheating on you, Wendy. WENDY: I don't know what you're talking about. ZIVA: Must have been a real shock. You were so much in love with him. GIBBS: The one decent man you've ever met... wasn't really decent at all, was he? WENDY: That's not true. GIBBS: He called you on the way to work. You weren't home, were you? WENDY: I was! He called me at home. ZIVA: Phone records show you forwarded your home phone to your cell. GIBBS: He had no idea you followed him, Wendy. ZIVA: He only worked a couple of days a week. I wonder what he did with all the rest of that free time? WENDY: (LONG bat) Did you know he cheated on me on our wedding day? Our wedding day. SMITH: (V.O.) Honey! Honey, it's our anniversary! (INTERCUT FLASHBACK SCENE OF THE shting) CUT TO: INT. SQUAD ROOM - DAY MCGEE: (INTO PHONE) Great, thank you. (TO TONY) Well, that takes care of them all. Visa, MasterCard, AmEx, Diners. Old cards cancelled, new ones reissued and it only took me two hundred phone calls. TONY: You know what I find really interesting? MCGEE: What? TONY: That you actually have Diners. MCGEE: What's wrong with that? TONY: Nothing. It's just I've never met anyone who used Diners club who wasn't wearing Depends. MCGEE: It's a very hip piece of plastic, Tony. TONY: Yes, in the year nineteen twenty seven. ABBY: Good news and bad news, Gibbs. The good news is I'm still cute. Bad news... the bmb squad got a little trigger happy. GIBBS: They blew up the metal box? ABBY: Do you have any idea what's beyond smithereens? GIBBS: Not a clue. ABBY: Me neither. That's what we've got. There's not much I can do. GIBBS: Nope. Except put it back together. ABBY: Gibbs! It's in like a jillion pieces! That would take months! ZIVA: It's the only link we have to that delivery service, Abby. ABBY: Yeah? Well you're not the one that has to put it back together, Officer David. (ABBY WALKS O.S.) ZIVA: She doesn't like me, does she? GIBBS: Eh... CUT TO: INT. ELEVATOR - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN/ CLOSED) (ZIVA WALKS INTO THE ELEVATOR) ABBY: Are you going home? ZIVA: Not yet. I thought I might be able to help you with ... that. ABBY: Do you have a degree in forensic science? ZIVA: No. But I'm very good at jigsaw puzzles. ABBY: We'll see. (MUSIC OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x05 - Switch"}	foreverdreaming
MUSIC IN: INT. CARR BEDROOM - NIGHT (MUSIC OVER ACTION/JAMIE ACTS IN FRONT OF THE CAMERA) CUT TO: INT. CUBICLE - NIGHT (ON MONITOR) Can't you take it all off? CUT TO: INT. BEDROOM - NIGHT (MUSIC OVER ACTION/JAMIE CONTINUES DANCING) JAMIE CARR: Be patient, boys. (MUSIC OVER ACTION) CUT TO: INT. CUBICLE - NIGHT (ON MONITOR) Rain! Look behind you!...Turn around -- CUT TO: JAMIE: (SCREAMS) Ach -- INT. BEDROOM - NIGHT (MUSIC OVER ACTION/JAMIE STRUGGLES WITH THE INTRUDER) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLES/ SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "THE VOYEUR'S WEB" TONY: (INTO PHONE) Now listen, sweetheart, I need a table on the terrace for Friday at nine o'clock. It's not negotiable. Tell Valentino it's Agent DiNozzo, we're friends. (IN ITALIAN) Grazie, mi amore. Ciao. MCGEE: Valentino's, huh? Must be a special occasion. TONY: I'm taking Monica for her birthday. MCGEE: You know, I know a great place in Georgetown. Just as romantic, half the price. TONY: That's a good idea, Probie, but Monica's not exactly the Applebee's type. MCGEE: I've never seen you like this, Tony. You must really like this girl. TONY: Well, she's got the whole package; beauty, class, sophistication. All that's left is to decide on the perfect gift. ZIVA: I thought you gave all your girls Honey Dust? TONY: How do you....? Probie, something you want to tell me? MCGEE: It's not my fault. ZIVA: Don't be embarrassed, Tony. I find the taste of Honey Dust to be extremely erotic. TONY: What a coincidence, so do I. GIBBS: I don't. Gear up. We're heading to Dumfries. A corporal's wife is missing. Local police think she may have been abducted. TONY: What did I tell you about telling her about my personal life? MCGEE: I'm sorry. She tricked me again. TONY: Hey, next time, why don't you tell her how I lost my virginity? ZIVA: I've been meaning to ask you about that, Tony. How does a fifteen year old boy go about meeting a coquette? MCGEE: She means Rockette, boss. (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) CUT TO: EXT. HOUSE - DAY (SFX: SIREN) ZIVA: Where did all these people come from? TONY: Didn't you see the signs? It's yard sale day. ZIVA: I see. And do Marines sell their yards often? MCGEE: No, it's actually when people gather stuff they don't want anymore, and sell it in their yards. ZIVA: Why would anyone want to buy somebody else's junk? TONY: One man's junk is another man's treasure. ZIVA: In Israel, we have a saying. "Zevel Ze Zevel." Crap is crap. GIBBS: Her name is Jamie Carr. Police got a call from the next door neighbor. No one's seen her in two weeks. ZIVA: Why are they assuming abduction? GIBBS: Back door's kicked in. McGee, you take the perimeter. MCGEE: On it. GIBBS: Ziva, check with the neighbor who called it in. Tony, you're with me. ZIVA: Is there a reason I'm always the one taking statements? TONY: Obviously you're good at getting people to talk. ZIVA: Don't blame McGee. I was merely being curious. TONY: About my sex life? ZIVA: About American customs. Some of the men I've been meeting seem to be a little, how you say, uptight? TONY: Define uptight-- GIBBS: Today, DiNozzo! TONY: On your six, Boss! CUT TO: INT. LIVING ROOM - DAY (DOOR OPENS) TONY: Ooh, I feel like I just walked into page eight of the IKEA catalog. Used to shop there when I was in college. Really reasonable prices. GIBBS: Get to work, DiNozzo. TONY: Yeah (bat) I take it the husband's deployed. GIBBS: Iraq. Six months into his second tour. TONY: They bringing him home? GIBBS: Depends what we find here. CUT TO: INT. BEDROOM - DAY GIBBS: DiNozzo, have McGee break out the Luminol. TONY: You got blood? GIBBS: Someone decided to clean up a twelve inch spot on this carpet. What do you think? CUT TO: EXT. YARD - DAY BART: You need to relax your eyes. It's a hidden three-D picture. If you look at it just right, a palm tree appears. ZIVA: I think it is broken. BART: Hey, I'm watching you guys! Kids from down the street. They've got sticky fingers. ZIVA: Tell me about Mrs. Carr. BART: Oh, she pretty much keeps to herself. Never really clicked with the rest of the wives. ZIVA: Are you in the military, Mister Powell? BART: No, my wife is. She's a Staff Sergeant in the Corps. ZIVA: Deployed? BART: Yeah, to Wal-mart. She should be back in about an hour or so. ZIVA: What do you do? BART: Well, Corps takes up most of my wife's time, so I take care of the kids and the house. ZIVA: You are a domesticated house husband? BART: Well, I never heard it put quite like that, but yeah, I suppose I am. ZIVA: Is crime a problem around here? BART: Are you kidding? It's a Marine neighborhood. We have no crime. ZIVA: I wouldn't say that. You're about to get robbed. Have your wife give me a call. BOY: (V.O.) Come on, get out of here! BOY TWO: (V.O.) Run! CUT TO: INT. BEDROOM - DAY TONY: Huh. So much for gone but not forgotten. GIBBS: Husband's away at wr, DiNozzo. People cope in different ways. TONY: She's found at least one way to cope. ZIVA: Careful. You could poke an eye out with that. Twist the end, Tony. Haviar Christian Number Five. It's a perfume. Big in France. TONY: Maybe that's what I'll get Monica for her birthday. ZIVA: It's two thousand dollars an ounce, Tony. GIBBS: Sounds steep. TONY: Yeah, she's not really a perfume kind of gal. GIBBS: I meant for a Corporal's wife, DiNozzo. TONY: I knew that. MCGEE: I found some blood drops out back. Hidden underneath some bags of mulch. Looks consistent with a dragged body, boss. GIBBS: Where exactly, McGee? MCGEE: On the concrete patio. I taped-off the area. ZIVA: Something wrong, McGee? TONY: He's fine. He's just never been in a woman's bedroom. (INTERCUT FLASHBACK SCENES) MCGEE: I've seen this room before. (INTERCUT FLASHBACK SCENES) MCGEE: In a video clip. TONY: Like a prn? MCGEE: No, a girlfriend is always e-mailing me these internet videos. She sent me one of this room last week. TONY: Why do I find that hard to believe? MCGEE: What, you never get forwarded weird videos to your e-mail? TONY: All the time. I meant the part about you having a girlfriend. MCGEE: This clip showed a woman supposedly being mrder live on the internet. (INTERCUT FLASHBACK SCENE) ZIVA: Why didn't you report it, McGee? MCGEE: I um... assumed it was a hoax, a badly made snuff film. TONY: You know what happens when you assume, McGee? MCGEE: Yeah. Gibbs is going to kll me. Again. CUT TO: INT. LAB - DAY GIBBS: Doesn't look like a hoax to me, McGee. MCGEE: Boss, I'm sorry. It didn't occur to me... GIBBS: Abby, talk to me. ABBY: I was analyzing the file, Gibbs. It's compressed MPEG-Four, both fields are rendered using a Kodak that scales down the number of colors in.... GIBBS: In English, Abby. ABBY: Well, from what I can tell, it looks like the image is real. There's no signs of layered special effects or tampering. Sorry, McGee. GIBBS: I want to know where it came from. You've got an hour. MCGEE: Fine boss, I don't need an hour. I scanned through Jamie's hard drive. I found it. That is Jamie Carr, or "Rain," on the right. Her webcam ran a direct feed into this website. ABBY: She was running a sex site from her bedroom, Gibbs. MCGEE: And her mrder was recorded during a live session, and distributed throughout the net. GIBBS: By who? MCGEE: Anyone that could have been logged on to the site at the time. It could be hundreds of people. ABBY: Or thousands, Gibbs. There's a big market for desperate housewives performing behind closed doors. Some of these ladies got rich doing it. GIBBS: Or dad, Abby. Who's the other girl? ABBY: Net name's "Skyler." She runs the site. I traced her webcam feed back to the same neighborhood as Jamie Carr. MCGEE: It's the residence of Sergeant Jake Roberts, also deployed in Iraq. His wife, Leanne, lives there alone. GIBBS: Get the car. MCGEE: You got it, Boss. ABBY: You know, it's not his fault, Gibbs. If we investigated every weird video on the internet, I mean, you know? Okay, you don't, but trust me. Cyberspace is crammed full of all kinds of bizarre things. It's a whole new world in there, Gibbs, and a lot of it ain't pretty. GIBBS: You can say the same thing about this one, Abs. CUT TO: EXT. STREET - NIGHT MCGEE: I can't believe I didn't call it in. TONY: Don't bat yourself up, Probie. Same thing happened to me once. MCGEE: Really? When? TONY: Last month frat brother emailed me a video of a dachshund skateboarding. I was positive it was a fake. Then I turned on the TV a few nights ago, saw the exact same dog skateboarding on Letterman. MCGEE: You're really enjoying this, aren't you? TONY: Probably not as much as you did when you told Ziva my life story. GIBBS: There's nobody home. Hasn't been for a while.(SFX: GLASS BREAKS INSIDE) CUT TO: INT. HOUSE - NIGHT (SFX: DOOR BURSTS OPEN) (MUSIC OVER ACTION) (SFX: CATS SCREECH) GIBBS: Clear! MCGEE: Clear. TONY: It's going to be a long night, McGee. (CUT TO BLACK) MUSIC IN: INT. SQUAD ROOM - DAY GIBBS: We have two crime scenes, one website, zero bodies. I want some answers. TONY: Jamie Carr, Leanne Roberts, started the "Naughty Naughty Neighbors" website nine months ago. The site has over two thousand members and records about fifty-thousand hits a day. GIBBS: Is that a lot? TONY: Well, let me give you some scope here. Playboy dot com five million hits a day. The official NCIS website... less than four hundred. ZIVA: Which proves what I've long suspected. Despite the conservative image, Americans really love their prn. I mean, I was just saying basically that Americans... GIBBS: Continue, DiNozzo. TONY: When Naughty Naughty Neighbors debuted, it was nothing more than a couple girls in lingerie. Membership fee was nine bucks which is about average for this kind of content. As the clothes came off, the admission fee went up. And up. And up. Today the fee stands at twenty three ninety five which is kind of high. But platinum membership? We're talking private chats and shows -they want forty five bucks a month. I mean, can anyone say rip off? (bat) What? ZIVA: That's a lot of research, Tony. TONY: I've been working from home. GIBBS: I want detailed profiles of anyone who's ever been a member or is a member of that site. TONY: That's like thousands of people, Boss. GIBBS: Then you better get started, huh? ZIVA: You really believe this is an obsessed voyeur? The women's identities were protected by masks. GIBBS: Half a mask. ZIVA: Still the odds of us finding him off a list that size are... GIBBS: Are better than the odds of you winning this argument. MCGEE: Good news, boss. Naughty Naughty Neighbors has a webmaster. GIBBS: Web what? MCGEE: Webmaster. It's a person that is hired to design and update the page. His name is Carter Finch. TONY: Is this guy like a Super Fly cyber pimp? MCGEE: Not exactly. I just got off the phone with his mother. He lives in her basement. TONY: Oh, that's kind of depressing. GIBBS: Tony, take Ziva with you. McGee, pull financial records on both women. MCGEE: Already done. They both have joint accounts with their husbands. Neither has any indication of any additional income. GIBBS: Profits? MCGEE: Probably routed through a third party. GIBBS: Oh, the page master? MCGEE: Who? GIBBS: This guy!? MCGEE: Uh, yeah. Uh, no. Definitely not. No, he has less than two hundred dollars in his account. Been that way for the past year so the money could be anywhere. (LONG bat) I'm going to find it. I have no idea how. CUT TO: INT. AUTOPSY ROOM - DAY JIMMY: What are you doing, Doctor Mallard? DUCKY: Performing an autopsy, Mister Palmer. JIMMY: Shouldn't we have a body? DUCKY: Usually. Sometimes, however, one is forced to play the cards one is dealt. Often our greatest accomplishments come from our most trying moments. JIMMY: Ninety seven NBA Finals. Jordan has food poisoning. Still hits the Jazz up for forty. DUCKY: I was thinking of something with a little more historical significance. The landings at Normandy, for example. JIMMY: Oh D-Day. DUCKY: Yes. You know, the fighting went far beyond the beaches, lasted for weeks. My uncle was there, Major Monty Mallard. Yes, fatigued and injured, he turned to his troops and said... GIBBS: The French wine in this particular region is terribly overrated. DUCKY: Anyone would think you'd heard that story before. GIBBS: What do you make of the video? DUCKY: We're dealing with an amateur. Anyone with any kind of training would have used far more pressure, making sure the trachea was severed. GIBBS: She survive long, Duck? DUCKY: Yeah, well a cut that shallow, the victim would go in and out of consciousness for several minutes. The poor girl died a slow and excruciating death. CUT TO: INT. BASEMENT - DAY CARTER: This is the first I've heard about any snuff video. I just knew that Jamie was missing. TONY: Not just Jamie. Leanne, too. CARTER: Do you think it has something to do with the website? TONY: Well, that would make sense now, wouldn't it? ZIVA: How did you not see the video? Don't you run the site? CARTER: Well, I maintain it, but I'm far too busy to watch all the content. TONY: Well, I'll bet you weren't too busy to see the new Star Wars six times. CARTER: Careful with that Wookiee. It's a prototype from nineteen seventy eight. TONY: Aren't you a little too old for toys? CARTER: These aren't toys, they're investments. There are only three seventy eight Wookiees equipped with an amo belt, and I have one of them. You don't even want to know how much it's worth. TONY: You're right. I don't. CARTER: Six hundred bucks, but I'll sell it for twice that online via Ultra Collectibles and Auctions-dot-com. ZIVA: I see you are also saving money on rent. CARTER: Uh, I can afford my own place. I just live here for my mom you know. She feels safer having me close by. TONY: I'm sure you provide a high degree of protection. ZIVA: Tell us about Jamie and Leanne. CARTER: We're business associates. I manage their website and in exchange, get paid a hundred dollars a week. TONY: A hundred bucks? The site has over two thousand members. At twenty four bucks a pop, that's like... ZIVA: Forty eight thousand a month. TONY: Yeah, that's good. Sounds like the girls are ripping you off. CARTER: It's only one of several websites I've designed. I also do Dungeons and Demons, Buxom Bimbos, and Friends of Furries dot-org. TONY: You designed Buxom Bimbos? ZIVA: How did the three of you meet? CARTER: Leanne always flirted with me when I delivered her paper. And one day I was talking about my website, and she asked about-- TONY: Back up a step there. You were a paperboy? CARTER: I used to be a news distributor, okay? Paperboy is such an archaic term. TONY: Nine year olds don't mind it. ZIVA: How did Jamie get involved? CARTER: I guess she wanted to make some extra money. That's one reason I'll never get married. (SFX: ZIVA LAUGHS) TONY: I can think of a couple others. ZIVA: When was the last time either of them contacted you? CARTER: It's been like a month. I mean, with a design like mine, the site pretty much runs itself. TONY: (LAUGHING) Is your mother wondering why we're here? CARTER: I kind of told her this was for a job interview.(SFX: TONY LAUGHS ALOUD) TONY: Ah, I'll be in the car. CUT TO: INT. LAB - NIGHT GIBBS: What do you have, Abs? ABBY: Um, a Ph D in prn. I spent the last six hours searching through webcam files trying to find some kind of lead. And I have consumed more prn than Tony has in his lifetime. Okay, maybe not, but I have watched a lot of smut. GIBBS: You learn anything? ABBY: I'm not nearly as flexible as I should be. GIBBS: Anything about the case? ABBY: Right. I was getting to that. I filtered through all of Jamie's files, and I found the original feed of her mrder. GIBBS: This helps? ABBY: That it does. By coordinating the original stream with the hard drive, I obtained the date and time that the file was written. I know when Jamie Carr was mrder! Eight days ago at nine p.m. To you that would be twenty-one hundred hours, Sir! GIBBS: That's good work, Abby. (GIBBS WALKS O.S.) ABBY: I do what I can. And as a reward, I will treat myself to more exciting girl-on-girl action. CHARLES: (V.O.) Miss Sciuto. ABBY: Whoa! Okay, that was quieter than Gibbs. CHARLES: Oh, that's my high-tech Model Fives. Yeah, they're designed to dampen ambient sound. ABBY: Nice shoes. Who are you? CHARLES: Charles Sterling. Your new assistant, Ma'am. ABBY: I did not order a new assistant. CHARLES: Well, that's strange. Human resources told me to report tonight. ABBY: That's great. I tell them that I do the work of ten people and I need a raise. And I get... this. CHARLES: I don't know about your raise, Ma'am, but I am a huge fan of your work. Journal of Forensic Sciences. "Deducting drop size and velocity from circular blood stains." ABBY: I did not know anyone actually read that. CHARLES: Oh, yeah. Anytime I undertake a mission, I recon the situation so I can best adapt myself to the surroundings.... Ma'am. ABBY: Okay, do me a favor, Chip? CHARLES: It's Charles, Ma'am. ABBY: Charles. CHARLES: Charles. ABBY: Don't call me Ma'am. It's Abby. And can you just hang tight here for a second, 'cause um... I need to make a short moustache - a quick....a quick phone call. I need to make a phone call. I'll be right back. CUT TO: INT. OUTER LAB - NIGHT ABBY: (INTO PHONE) Gibbs, I have a problem down here. CUT TO: INT. LANDING - DAY SHEPARD: You needed to see me? GIBBS: Abby Sciuto's new assistant. SHEPARD: Abby's overworked. She needed help down there. GIBBS: You haven't been here long enough to know what she needs yet, Jen. SHEPARD: The girl practically mainlines caffeine, Gibbs. The guys in the mailroom call her "Energizer Abby." GIBBS: She works best alone. She's a lot like you - very hands-on. SHEPARD: Give it a month, Jethro. If she's still unhappy we'll talk about it. You can give me a month, can't you? GIBBS: It's not me you have to worry about, Director. Abby works alone for a reason. SHEPARD: Which is? GIBBS: Something you should ask her yourself. SHEPARD: I will. I'm briefing SecNav in about an hour. Anything on the two missing Marine wives? GIBBS: Not yet. SHEPARD: I need more than that, Jethro. GIBBS: Well, you can tell him they were running an internet sex site while there husbands were deployed and, as a result of that, they may have been mrder. SHEPARD: I guess I can hold off briefing him for a little while. (PHONE RINGS) GIBBS: Good call, Madam Director. (INTO PHONE) Gibbs. CUT TO: INT. SQUAD ROOM - DAY TONY: Chow's getting cold, McGee. MCGEE: No time. I have to find where all this Naughty Naughty Neighbors website money went because if I don't, Gibbs might actually decide to kll me this time. TONY: He has an excellent point. MCGEE: This doesn't make sense. They made almost five hundred thousand dollars. It just can't disappear. ZIVA: Money changes hands, McGee. Rarely does it disappear. MCGEE: Money maybe, but there are only two people who had access to this cash, and both of them have vanished. GIBBS: Not anymore. Dumfries Police Department found Leanne Roberts. CUT TO: EXT. JUNKYARD - DAY (CAMERA ANGLE ON LIFELESS BODY) (MUSIC UP AND OUT) FADE IN: EXT. JUNK YARD - DAY DUCKY: I'm sorry, Jethro. There's just too many parameters. Fully clothed, sealed in the back of a car. It's been a pretty cool and dry week. I couldn't even give you an educated guess as to when she died. GIBBS: The wound is deep. DUCKY: Yes. Consistent with a combat or hunting Knfe. GIBBS: Like the one on that internet video. (INTERCUT VIDEO SCENE) DUCKY: Yeah, it could be. (SFX: DOG BARKS) TONY: Sweep the yard! See if the dog reacts to any other human remains. MCGEE: Hey, buddy. (SFX: DOG BARKS) MCGEE: She doesn't like people. (ZIVA PETS THE DOG) ZIVA: Hi! Hi! MCGEE: Maybe it's just me. ZIVA: How long is Gibbs planning on keeping us here? TONY: As long as it takes to find the other missing wife. ZIVA: Assuming she's even here, Tony! It could take days to search this place. TONY: Why don't you tell Gibbs that? He loves our input. ZIVA: Are you sure these are corpses-sniffing dogs? TONY: Of course. That's why they're alerting to McGee. He's been a dad man since yesterday. MCGEE: Very funny stuff there, Tony. TONY: Still working on it. ZIVA: How did you end up here, McGee? MCGEE: Well, I rode in the back of the van. You may have noticed my screaming as Tony ran that light. ZIVA: Not here, here. At NCIS. I know Tony's story, what's yours? MCGEE: Do you want the long version or the short version? TONY: Oh, there's only one version. McGee showed up on our doorstep like a little lost poodle. MCGEE: That is not true, Ziva. TONY: No, you're right. It was more like a Saint Bernard. GIBBS: DiNozzo! Ziva! We're out of here! TONY: Thank you, God. MCGEE: What about me, Boss? GIBBS: You're heading up the search. Find me that other body. MCGEE: Why me? I'm not the newbie anymore. Don't you think this is maybe a job for Ziva? GIBBS: I need a trained investigator running this site, McGee. Do you think Ziva fits that bill? MCGEE: I guess not, Boss. TONY: Hey, quit feeling sorry for yourself. Do what you do best. MCGEE: What, you mean screwing up? TONY: No, finding answers when no one else can. ZIVA: That was nice of you. TONY: Never kick a probie when he's down, Ziva. ZIVA: I thought the expression was dog. TONY: It's the same difference. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: You've been through the wars, my dear. mrder in your own home and then discarded like yesterday's rubbish. GIBBS: What's the time of death, Duck? DUCKY: Based on decomposition and bloating, ten, twelve days ago. GIBBS: She was klled prior to Jamie Carr. JIMMY: X-rays, Doctor. DUCKY: Thank you. JIMMY: What's this translucent jell leaking onto the table? DUCKY: Silicone, Mister Palmer. It appears our young lady's left implant ruptured. As I suspected, cause of death - compound fracture of the skull. JIMMY: My guess would have been on the eight inch gash across her throat. DUCKY: Then you'd have been wrong, Mister Palmer. Such a gash should have resulted in enough loss of blood that would have covered her entire torso. GIBBS: Should have, Duck? DUCKY: Yes, when I cleaned the body there was little to no external blood. She died of blunt force trauma. Once her brain function ceased, the cardio vascular system shut down. GIBBS: Explaining the lack of blood loss. DUCKY: Indeed, Jethro. Leanne Roberts died and then the Knfe was taken to her neck. CUT TO: INT. SQUAD ROOM - DAY ZIVA: You never cease to amaze me. TONY: I probably would have gone pro if I hadn't blown out my knee senior year. ZIVA: I was referring to the numerous ways in which you entertain yourself. TONY: Like what? ZIVA: Computer solitaire, paper airplanes, last week's rubber band wr. TONY: Oh. Well, in all fairness that was McGee's fault. ZIVA: How? TONY: Well he's the one who brought the rubber bands down from the supply room. Should have known better. ZIVA: I think he learned his lesson. I never knew a rubber band could leave such a welt. TONY: It's all in the release. ZIVA: It's astounding you actually find the time to do your job. TONY: It's what we call the creative process. ZIVA: What's that? TONY: While you were getting your little Banana-Rama thingy, I was finding us a lead. ZIVA: It's Berry Mango Madness. And... I'm listening. TONY: This dude had a platinum membership to the website, restraining order filed against him last year, and lives in the Dumfries area. ZIVA: Name? TONY: Robert T. Sullivan. ZIVA: Checked him out last night. He's been in South Beach, Florida, for the past six weeks. TONY: South Beach is an exotic place. Beaches, babes. Bingo! ZIVA: Mister Sullivan is in a spiritual retreat. He's a Jehovah's Witness. TONY: That would explain the restraining order. Well, only four thousand, three hundred and thirty eight to go. CUT TO: INT. LAB - DAY ABBY: This has been the longest two days of my life. Popcorn, Chip? Chip, are you with us? CHARLES: Oh, yeah. Sorry about that. I guess I zoned out for a minute. ABBY: It's Abby, and it was like an hour. CHARLES: Look, I... I think I'd feel more comfortable being assigned to another project. ABBY: What's the matter, Chip? You don't like watching prn with me? Sorry I'm not one of the fellows, but I'm doing the best I can. CHARLES: I don't really watch explicit material with my peers, Ma'am. Abby. Abby, I don't watch it at all. ABBY: Not buying it, Chip. CHARLES: And why is that? ABBY: Two reasons. One, you're male. Two, you're breathing. CHARLES: See, I find that to be an unfair generalization. Not all men engage themselves in those kinds of immoral activities. ABBY: That's not what Tony says. CHARLES: Yeah, well, I prefer to spend my time more constructively. I have a detailed routine designed to strengthen both my mind and my body. I do calisthenics in the morning, and I do brain teasers at night. ABBY: Home-schooled. CHARLES: How did you know? ABBY: Wild guess. Oh, look at that, Chip. CHARLES: Oh, yes. Video's done. We're done. ABBY: Nope. That was just Jamie Carr's feed. Now it's Leanne Roberts'. CHARLES: Fantastic. CUT TO: INT. SQUAD ROOM - DAY (SFX: ZIVA POUNDS ON THE KEYBOARD) (SFX: ZIVA SHRIEKS) TONY: Having problems, Officer David? ZIVA: At Mossad we used MAC. I'm yet not accustomed to this operating system. (SFX: ZIVA BANGS ON THE KEYBOARD) MCGEE: It's like I've told Gibbs, that approach never works, Ziva. ZIVA: My approach makes me feel better. TONY: You found Jamie Carr's body? MCGEE: Negative. The police and MPs are continuing the search tomorrow. TONY: We haven't had much luck either. Most of the subscribers for Naughty Naughty Neighbors are out of state. MCGEE: I didn't say I had no luck. About an hour ago I found my ticket back to the land of the living. It was buried under scrap metal about fifty feet from where we found Leanne Roberts' body. Where's Gibbs? CUT TO: INT. MTAC ROOM - DAY CALDWELL: (ON MONITOR) I want you to understand, Ma'am, Sergeant Roberts is a good man. SHEPARD: Understood, Captain, but my people still need to talk to him about his wife. CALDWELL: (ON MONITOR) I'd like them to do more than just talk, Ma'am. They have to stop him. GIBBS: From doing what, Captain? CALDWELL: (ON MONITOR) From ruining his life, Sir. (V.O.) My Sergeant Major told me to contact you, Special Agent Gibbs. Sergeant Roberts requested emergency leave two days ago. GIBBS: We just found his wife's body. How's that possible? CALDWELL: (ON MONITOR) He doesn't know she's dad yet, Sir. He requested leave for another reason. SHEPARD: Which was? CALDWELL: (ON MONITOR) A personal matter, Ma'am. GIBBS: We know about the sex site, Captain. CALDWELL: (ON MONITOR) Well, then you should know that Sergeant Roberts blames one of his neighbors for it. According to his squad, he's planning on klling the man. SHEPARD: And you sent him home to do it, Captain? CALDWELL: (ON MONITOR) I was unaware of his intentions until this morning, Ma'am. Look, I just need your help. Now, the neighbor's name is Bart Powell. GIBBS: When's the Sergeant scheduled to land, Captain? CALDWELL: (ON MONITOR) Tomorrow, Sir. SHEPARD: Check his flight manifest. CALDWELL: (V.O.) He just needs a cool down period, Agent Gibbs. (ON MONITOR) And like I said, he's a good man, and an even better Marine. GIBBS: We're on it, Captain. We'll pick him up at the airport. CALDWELL: Thank you, Sir. My Sergeant Major said that we could count on you. GIBBS: He get that bottle I sent him? CALDWELL: He did. He told me to tell you to keep 'em coming. (MONITOR OFF) (SFX: GIBBS CHUCKLES) SHEPARD: Alcohol is contraband in Iraq. GIBBS: I thought it'd take longer, Jen. SHEPARD: Longer for what? GIBBS: For me to see you as a Director and not a Field Agent. SUMNER: Ma'am, Sergeant Roberts changed his itinerary. He left West Germany last night. SHEPARD: When's he due in? SUMNER: He arrived two hours ago at Dulles. CUT TO: EXT. POWELL'S HOUSE - DAY (SFX: CARS BRAKE TO A STOP) GIBBS: We're here to stop Sergeant Roberts, not kll him. ZIVA: But what if-- GIBBS: I said stop him, Officer David. ZIVA: Got it! (SHOUTING B.G.) GIBBS: You take the right. CUT TO: EXT. BACK YARD - DAY BART: I didn't do anything! ROBERTS: Where is she, Powell?! Where's my wife? BART: I don't know! ROBERTS: Where's my wife?! BART: I don't know. I swear! ROBERTS: She told me what you made her do! I'm going to gut you like the pig you are! GIBBS: Drop the Knfe, Sergeant! Special Agent Gibbs, NCIS. We'll take it from here. ROBERTS: Do you know what he did to my wife, Sir? GIBBS: I do. We're here to take him into custody. ROBERTS: He deserves to die, Sir! GIBBS: I can't let you do that, Sergeant. Sergeant! ROBERTS: My house... there was police tape, blood inside. Leanne's dad, isn't she? GIBBS: I'm sorry, Marine. ROBERTS: You ought to be klled. (POWELL SHOUTS) ROBERTS: What now, Sir? What am I supposed to do now? CUT TO: INT. INTERVIEW ROOM - DAY BART: I did not kll Leanne Roberts. CUT TO: INT. OBSERVATION ROOM - DAY BART: This is... this is insane. I barely knew her! MCGEE: He wants you to run the tape. ABBY: I guess it was worth it then. MCGEE: Worth what? ABBY: Watching over twenty hours of prn with Chip. MCGEE: Who the hell is Chip? SHEPARD: Her new assistant. ABBY: That I didn't ask for, Madam Director. SHEPARD: Abby, it's Director or Ma'am, not madam. How is Mister Sterling working out? ABBY: All I can tell you right now, Ma'am, is that he's easily excitable. CUT TO: INT. INTERVIEW ROOM - DAY GIBBS: Barely knew her? BART: All I see is some shadow climbing through her window. CUT TO: INT. OBSERVATION ROOM - DAY ABBY: What do you see now? CUT TO: INT. INTERVIEW ROOM - DAY BART: Okay, so we had an affair. I mean, that's not a crime. GIBBS: But you know what is? Blackmail. Sergeant Roberts... CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: ... Got a letter in Iraq last week from... CUT TO: INT. INTERVIEW ROOM - DAY GIBBS: .... His wife explaining everything. BART: About what? GIBBS: You found out about her website and you thrat to tell her husband unless she'd sleep with you. BART: Oh, god! No! No! I wouldn't have! I was just fooling around! GIBBS: You klled her and you klled her website partner, Jamie Carr. BART: No, I didn't kll anyone! GIBBS: You're a liar and you're a predator! And you think anybody is going to believe what you have to say now?! CUT TO: INT. HALLWAY - DAY SHEPARD: It's been a while since I've seen you in interrogation, Jethro. You haven't lost your touch. GIBBS: I should've let Sergeant Roberts kll him. TONY: Bad news, Boss. Powell's alibi checked out. The week Leanne Roberts was mrder, he was at Disney World with his wife and kids. GIBBS: Did you tell Sergeant Roberts yet? TONY: I thought it would be best if it came from a fellow Marine. So if Powell didn't do it, who did? SHEPARD: That's what we're going to find out, Agent DiNozzo. (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY ZIVA: Running a little late this morning? TONY: Stopped at the mall to pick up Monica's gift. It was completely packed. Scott Baio's cutting the ribbon at a new Pottery Barn. ZIVA: Who's Scott Baio? TONY: Exactly. Morning, Probie. (TO ZIVA) What's with him? ZIVA: He's been that way all morning. I do not believe he went home last night. TONY: Ah. Where's Gibbs? ZIVA: He left for coffee. TONY: What do you think? GIBBS: It's not your color, DiNozzo. TONY: Ah, I was just showing Ziva... GIBBS: You're late. TONY: Yeah, I had to run an errand. It was important but it won't ... won't happen again. MCGEE: Boss, I located the money. They had a Cayman account set up to dump the funds into a U.S. account on the fifteenth of every month. ZIVA: Whose account? MCGEE: Her name is Hazel Davenport. ZIVA: We got an address? MCGEE: Yeah, Royal Manor Retirement Home. She's eighty-six years old. She happens to be the maternal grandmother of Carter Finch. GIBBS: See what happens when you show up to work on time, DiNozzo? TONY: Yes. MCGEE: He emptied the account last night and walked out with close to half a mil in cash. GIBBS: What are you waiting for? Bring me Finch. (SHOUTS) Now! TONY: Right. (TO MCGEE) You pulled an all-nighter? MCGEE: Sergeant Roberts deserves answers. TONY: Should've told me. I would've stayed. MCGEE: I know you would've. So why were you late? TONY: I stopped by the mall to pick up Monica's birthday present. MCGEE: Did you see Scott Baio? CUT TO: INT. ABBY'S LAB - DAY ABBY: Not the Knfe in the video, Chip! CHARLES: How do you know for sure? ABBY: Because it's obvious.(bat) See the butt of the Knfe? Not the same. This is a Marine Caper. See the blade? CHARLES: Not the same? ABBY: Not the same, Chip. There are no serrations. A different Knfe klled Leanne Roberts then klled Jamie Carr. CHARLES: That doesn't make any sense. ABBY: That doesn't make any sense. Good, Chip. CHARLES: I really hate being called Chip. ABBY: I really hate that Ozzy got fat and stupid. Live with it. Now here is what really doesn't make sense. Hunting knives, kitchen knives, military knives, ceremonial knives.... Four hundred and twenty-three different kinds of knives. And none of them match this one. CHARLES: That's strange. ABBY: Wrong response, Chip. CHARLES: Nothing matches yet. ABBY: Now you're making sense. CUT TO: INT. BASEMENT APARTMENT - DAY TONY: Laptop's gone. MCGEE: (INTO PHONE) Left in a hurry, Boss. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Did you talk to his mother? (SCENE CUT) MCGEE: (INTO PHONE) Said that she hasn't seen him since we talked to him. (SCENE CUT) GIBBS: (INTO PHONE) Tony and Ziva spooked him. (SCENE CUT) MCGEE: (INTO PHONE) You want us to set up surveillance, make sure that we're here when he comes back? TONY: He's not coming back. (END TELEPHONE INTERCUTS) ZIVA: (V.O.) I checked his cell phone records. CUT TO: INT. SQUAD ROOM - DAY ZIVA: He has not made or received a phone call since Wednesday of last week. TONY: I can't imagine he has a lot of friends. MCGEE: He doesn't really need them, considering he has half a million dollars in cash. ZIVA: That he picked up over eighteen hours ago. Whoosh. I could be in Rio De Janeiro right now. TONY: Good thing he's not you. Okay, this guy's not smart enough to cover his tracks. MCGEE: He's done pretty well so far. TONY: He does online auctions from his laptop. Super Collectables... ZIVA: Ultra Collectibles and Auctions dot com. Can we trace him? MCGEE: If we can pinpoint some of his items. Do you know what he sells? TONY: Star Wars stuff. MCGEE: That narrows it down to like fifty million people. TONY: Ah. Ah... some kind of figurine. There's only three of them. MCGEE: Yoda? C-Three-P-Oh? Storm Trooper? ZIVA: Wookiee. There's a special edition prototype from nineteen seventy eight. It comes equipped with an amo belt. There are only three in existence. MCGEE: You're a Star Wars junky, huh? ZIVA: Not especially. TONY: She has a photographic memory, Probie. Not a social disorder. MCGEE: Okay, there is one seventy eight Wookiee posted. Only one with an amo belt. High bid was over twelve hundred dollars. TONY: Was? MCGEE: He shut down the auction early this morning. Guess he no longer needed the cash. TONY: Can you find him? MCGEE: I'm tracing the host computer I.P. address now. Looks like he last logged on six hour ago. A broadband connection at the Freemont Inn in Woodbridge, Virginia. TONY: That's twenty minutes from here. Ziva, you're with me. McGee... call Gibbs! CUT TO: EXT. HOTEL - DAY TONY: If things get hairy, just follow my lead. What's happening, ladies? ZIVA: I don't need a babysitter, Tony. I've been in hundreds of these situations. TONY: Never with me. As far as I'm concerned, you're a Probie. ZIVA: I've never had sex with you, either. Does that mean I'm a virgin? TONY: Trust is a virtue that's earned, not given. ZIVA: Profound. TONY: I try. (SFX: TONY WHISTLES) ZIVA: Nice ass, yes? TONY: Something like that. CUT TO: INT. HOTEL ROOM - DAY (DOOR OPENS) TONY: Federal agents! Looks like we missed quite a party. CUT TO: INT. BATHROOM - DAY ZIVA: Tony, I think you want to take a look at this. TONY: The Knfe's a K-Bar, a Marine fighting Knfe. ZIVA: I told Gibbs not to let Sergeant Roberts go home last night. TONY: What do you think of that? Blood? ZIVA: Do you smell that? TONY: Haviar Christian Number Five. You think you're the only one with a memory? ZIVA: That's not blood. It's hair dye. (INTERCUT FLASHBACK SCENE) CUT TO: INT. LAB - DAY MCGEE: Have you seen Gibbs? ABBY: (INTO PHONE) Gibbs, it's Abby! I need to talk to you! Pronto! (TO MCGEE) Now you may speak, McGee. MCGEE: Do you know where Gibbs is? ABBY: Last time I saw him he was with the Director. MCGEE: I really need to talk to him. ABBY: Not as much as I do. MCGEE: You know what? He better have a good reason for not answering his phone. GIBBS: I was briefing the Secretary of the Navy, McGee. Does that one work for you? MCGEE: Boss, I'm sorry. It's just that we found Carter Finch. Tony and Ziva are probably there now. ABBY: Gibbs, there's more! GIBBS: Where? MCGEE: The Fremont Inn. ABBY: Hello? Gibbs? GIBBS: Get DiNozzo on the phone. Now. MCGEE: Right. ABBY: Gibbs! I can't work like this anymore! (F/X: ABBY SIMULATES A Knfe ACROSS HER THROAT) ABBY: The Knfe? It's fake. Two hundred and forty three dollars at your local magic shop. Jamie Carr... faked her own death. (SFX: KEYBOARDING) CUT TO: INT. FREMONT INN - DAY TONY: Jamie Carr? I liked you better as a blonde. ZIVA: That is probably not a good idea. TONY: You're probably familiar with this. JAMIE CARR: You wish.(SFX: TONY WHISTLES) (PHONE RINGS) TONY: (INTO PHONE) DiNozzo. GIBBS: (V.O./FILTERED) The Knfe in the video...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) ... is a fake, DiNozzo. Jamie Carr is... TONY: (V.O./FILTERED) Alive. (SCENE CUT) TONY: (INTO PHONE) We know. We're looking at her right now. (SCENE CUT) GIBBS: (INTO PHONE) What about Carter--? TONY: (V.O./FILTERED) Finch? d*ad. She offed him in the hotel room, took all the money for herself. (SCENE CUT) TONY: (INTO PHONE) She's a naughty little kitty cat. Anything else, Boss? (END TELEPHONE INTERCUTS) CUT TO: INT. LAB - DAY (SFX: HANGS UP PHONE) ABBY: Now you know how I feel, Gibbs. CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: She claims it was an accident. They fought when your wife wanted out - tell you about the internet site. ROBERTS: It's my fault. I was away for too damn long, Sir. GIBBS: Trust me, Marine. None of this is your fault. ROBERTS: Leanne wanted to start a family. And I told her we couldn't afford it. Maybe when I made Staff Sergeant, you know? I never thought that she'd... GIBBS: I know exactly how you feel. ROBERTS: How do you.. how do you live with it, Sir? GIBBS: Sergeant, you ask yourself that question every day until you find the answer. ROBERTS: And what did you find, Sir? CUT TO: INT. SQUAD ROOM - NIGHT SHEPARD: How did Sergeant Roberts take it? GIBBS: He's on his way back to Iraq. SHEPARD: You think that's wise sending a Marine who just lost his wife back into combat? GIBBS: Wise? No, that's what I'd do. SHEPARD: Are you heading out? GIBBS: Yeah. SHEPARD: Good. I'll walk you to your car. (GIBBS AND SHEPARD WALK O.S.) ZIVA: Tony, it's almost nine o'clock. Isn't tonight your big birthday dinner? TONY: We broke up. ZIVA: Why? TONY: Apparently, her husband didn't think it was a good idea. ZIVA: She's married? TONY: Knew she was too good to be true. ZIVA: Do you still have those dinner reservations? My treat. TONY: I guess I could drown my sorrows in surf and turf. ZIVA: That's a good attitude. TONY: I'll catch up. ZIVA: You will not be needing that! (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x06 - The Voyeur's Web"}	foreverdreaming
"HONOR CODE" MUSIC IN: EXT. COLEMAN PARK - DAY (SFX: CARNIVAL B.G.) TANNER: Hey Zach! Zachary! What did I say about wandering off like that? You have to be careful of strangers. ZACH: Sorry. TANNER: Here. ZACH: Uh, Dad? Balloons are for babies. TANNER: Right. What about that cotton candy? Is that still... ZACH: Oh, no. That's fine. We could share it after my ride. TANNER: I'll try to save you some. It looks awfully good to me. ZACH: Dad! After the ride! I'll be watching you. (MUSIC OVER ACTION/ZACH RIDES THE CAROUSEL) (F/X: MEN APPROACH TANNER) ZACH: Dad! (PASSAGE OF TIME) ZACH: Dad! (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) "HONOR CODE" TONY: A whole hour for a lunch run, Probie? MCGEE: Yeah, while Ziva and I were out, she asked me to show her the best routes to work. You know, her driving's gotten a lot better. Barely broke any laws this time. TONY: Let me get this straight. Ziva asked you, who can barely navigate the Navy Yard, to show her the best way to work? MCGEE: That's right. TONY: Well, what about me? I know every shortcut in the metro area. I could shave ten minutes off her commute like that! MCGEE: I don't know what to tell you. TONY: It doesn't make any sense. Unless -- maybe I intimidate her. MCGEE: Yeah, I'm sure that's it. TONY: I've seen it happen before. It's a chemical thing. Hard to explain. ZIVA: I do hope you try. TONY: I told you not to do that again. ZIVA: Sorry. I was so intimidated in your presence, I must have forgotten. Seriously, Tony. I do apologize for not asking your advice on my commute. TONY: Don't worry about it. ZIVA: If I would have known you would have felt so... emasculated... is the word? MCGEE: Yes, it is. ZIVA: Emasculated, I would have asked you first. TONY: It takes a little more than an exotic accent and some stealth ninja moves to emasculate me. ZIVA: Only a little more? How disappointing. (MCGEE CHUCKLES) TONY: Don't take sides, Probie! GIBBS: Gear up. We have a missing person. Coleman Park Carousel in Arlington. ZIVA: A child? GIBBS: Father. Lieutenant Commander Alex Tanner. Disappeared an hour ago. ZIVA: Do you always respond to missing person's cases so promptly? GIBBS: Special circumstances, Ziva. His six year old son called NCIS. He's in the park, alone, waiting for us. DiNozzo, you drive. TONY: Ooh, I think McGee wants to drive, Boss. MCGEE: Ah, you know what, Tony? I would really rather have you drive. TONY: Afraid you're going to run over another fre hydrant? Because I'm sure that wasn't your fault. Wait. It was, according to the police report. ZIVA: I'll drive. GIBBS: One more word, you're all walking. TONY: You got it, Boss.(bat) I deserved that.(ELEVATOR DOOR SLIDES SHUT) CUT TO: EXT. CAROUSEL - DAY (INTERCUT FLASHBACK SCENE) TONY: Zach, hey. I'm Special Agent DiNozzo, you can call me Tony, okay? That's a smart thing to do, calling NCIS. Good boy. All right, I know this really scary, but I want you to be brave. Can you do that? Okay, I want you to think back to what happened today. Try to remember the details. There's no wrong answer here. GIBBS: What do we know? TONY: Nothing. I think the kid's in shock. ZACH: No, I'm not. I'm waiting for Agent DiNozzo to ask me a question. TONY: What kinds of questions was I supposed to ask? ZACH: What I saw. Why I called NCIS. GIBBS: What did you see, Zach? ZACH: Two men were watching us. I think they kidnapped my Dad. GIBBS: Describe them. ZACH: Dark glasses. One had a military haircut. One had a shaved head. TONY: How old? ZACH: About your age. They had Ipods, too. TONY: It's like a Walkman, Boss. Ipod. ZACH: They were only listening in one ear like this. GIBBS: Be back in a minute, Zach. (GIBBS AND TONY WALK TO THE SIDE) GIBBS: Dark glasses, earwigs. TONY: Sounds like Feds. GIBBS: You really think the FBI would arrest a man and leave his kid in the park, DiNozzo? TONY: Maybe our Commander took a walk. My father left me in the Maui Hilton for two days once. He didn't even realize I was missing until he got the room service bill. ZIVA: Sad, but enlightening. MCGEE: Boss, I just spoke with the Commander's C.O.. He's very concerned. Apparently Commander Tanner was working on a highly classified D.O.D. project. GIBBS: What project, McGee? MCGEE: He wouldn't say over an unsecured line. But I'm going to find out. GIBBS: Footage from the security cameras? ZIVA: Park Security released them to me. GIBBS: Okay, get ahold of Zach's mom. She can pick him up at NCIS. MCGEE: (OVERLAP) Uh... uh... boss. Boss, um... his mother's dad. klled four years ago in a car accident. GIBBS: Primary next of kin? MCGEE: There is none. Just Commander Tanner and his son. CUT TO: INT. SQUAD ROOM - DAY TONY: These guys are definitely pros. They keep their faces from the camera. All we've got to go on is the kid's description of them. MCGEE: It doesn't look like a kidnapping to me. They don't have any gn. They barely touched the Commander. GIBBS: They could have thrat his son. TONY: Explains why they left him alone in the park. GIBBS: What do we know about Commander Tanner? MCGEE: Well, Boss, he is a brilliant man. A dual Ph. D. from Caltech in Number and Chaos Theory. I was actually reading his thesis online; he manages to link non-relativistic quantum effects-- GIBBS: Well, that's useful to this case, McGee! MCGEE: Uh... the last three years he has been the Navy's liaison with a defense contractor, Q and R software. Been the project lead on something called "Honor." GIBBS: Which is? MCGEE: Classified. Uh... I put a call into the head of security over there. No one's gotten back to me. So I thought I would pay them a visit. GIBBS: Yeah, that's a good answer. Tony, go with him. ZIVA: The sketch artist is done with Zach's descriptions. The boy has remarkable memory. There's also someone here from Social Security to pick him up. GIBBS: Services, Ziva. Social Security is for older people. ZIVA: Noted. Do you want me to tell the boy? GIBBS: No, I'll handle it. Here. Sit down. Put out a BOLO on the composites. (TO ZACH) Hey Zach, good job on the sketches, man. ZACH: Thanks. That's Social Services, huh? GIBBS: Mm-hmm. Yeah, they're going to take care of you until we get your dad back. ZACH: I can take care of myself. GIBBS: I don't doubt that. ZACH: But I still have to go. GIBBS: Yeah, just for a while. Come on. ZACH: What if you... what if you don't find my dad, Agent Gibbs? GIBBS: I'll find him, Zach. I'll find him. Hey, if you ever need me or even if you just want to talk, you call, okay? CUT TO: INT. HALLWAY - DAY LAURA: I'm sorry we didn't get back to you right away, Agent McGee. We've been having some problems of our own. MCGEE: What kind of problems? LAURA: Honestly, I don't know. I'm only Mister Connell's assistant. I'm sure he can-- (SFX: LIGHTS CLICK OFF) LAURA: That's been happening for the last half hour or so. They should snap back on. TONY: Are you all right, Ms. Osgood? LAURA: Uh, it's Laura. TONY: Laura. FRANK: Ms. Osgood. I'll take it from here. Frank Connell, Q and R Security. You certainly got here fast. WILDER: We just found out about the break-in ourselves an hour ago. CUT TO: INT. CONNELL'S OFFICE - DAY WILDER: At zero three hundred this morning, our network was breached. We didn't detect the intrusion until we attempted to boot up our main servers for maintenance. FRANK: Since then we've had our hands full tracking down the viruses they embedded in our system. MCGEE: Do we know yet what data's been compromised, Commander? WILDER: It's clear they were going after a working copy of Honor, but fortunately it's protected by a key that exists outside our system. TONY: Key doesn't sound very high tech. FRANK: An asymmetric algorithm key that's committed to memory. WILDER: Without it, you can't get the software to work. It's just random ones and zeros. Completely worthless. FRANK: So you see, NCIS has nothing to worry about, gentlemen. TONY: Great. Except that's not why we're here. MCGEE: Who has the Honor key committed to memory? WILDER: Our project leader, Lieutenant Commander Tanner. CUT TO: INT. CAR - MOVING (SFX: MUSIC BLASTS FROM THE IPOD) (PHONE RINGS) (BEGIN TELEPHONE INTERCUTS) GIBBS: (INTO PHONE) Yeah, Gibbs. TONY: (V.O./FILTERED) We may have a problem, Boss. (SCENE CUT) GIBBS: (V.O./FILTERED) May have? TONY: (INTO PHONE) The Honor code thingy Commander Tanner was working on may have been stolen. (SCENE CUT) TONY: (V.O./FILTERED) I'm trying to confirm it right now. GIBBS: (INTO PHONE) What's it supposed to do? (SCENE CUT) TONY: (INTO PHONE) Break just about any encryption in use today. GIBBS: (V.O./FILTERED) Well yeah, DiNozzo. (SCENE CUT) GIBBS: (INTO PHONE) I'd say that sounds like a problem. TONY: (V.O./FILTERED) It gets worse, Boss. (SCENE CUT) TONY: (INTO PHONE) According to the people here, Commander Tanner's the only one who can make it work. GIBBS: (V.O./FILTERED) All right. I'm heading your way. (SCENE CUT) GIBBS: (INTO PHONE) Just got to drop off Zach's pod thing first. (SCENE CUT) ZACH: (INTO PHONE) Agent Gibbs! (SCENE CUT) GIBBS: (INTO PHONE) Are you calling about your pod thing you left on my desk? ZACH: (V.O./FILTERED) No. He's here! (SCENE CUT) ZACH: (INTO PHONE) The man from the park. (SCENE CUT) GIBBS: (INTO PHONE) Let me talk to your social worker, Zach. ZACH: (V.O./FILTERED) I'm not in her office. (SCENE CUT) ZACH: (INTO PHONE) As soon as I saw him, I took off. GIBBS: (V.O./FILTERED) Where are you? ZACH: (INTO PHONE) Outside on the street. GIBBS: (V.O./FILTERED) Zach, I'm a ... (SCENE CUT) GIBBS: (INTO PHONE) ... Few bocks from you. Stay right where you are. (SCENE CUT) ZACH: (INTO PHONE) I can't. He's leaving. GIBBS: (V.O./FILTERED) Zach, listen to me! (SCENE CUT) GIBBS: (INTO PHONE) I need you to... ZACH: (V.O./FILTERED) He knows where my dad is! (SCENE CUT) ZACH: (INTO PHONE) We can't let him get away. Hurry! GIBBS: (V.O./FILTERED) Zach! (END TELEPHONE INTERCUTS) (SFX: CAR TIRES SCREECH) (MUSIC OVER ACTION/ZACH SEARCHES FOR THE MAN ON THE STREET) (MUSIC OUT) MUSIC IN: EXT. SOCIAL SERVICES - DAY (MUSIC OVER ACTION) (SFX: CAR TIRES SCREECH) ZACH: Help! Help! (SFX: CAR BRAKES TO A STOP) GIBBS: (SHOUTS) NCIS! Let the kid go! ZACH: Gibbs! PAZZO: Ah, you little bastard!(SFX: gn B.G.) (MUSIC OVER ACTION/VINCENT JUMPS INTO THE SUV) WILLIS: Go! Go! Go! Go! (SFX: CAR TIRES SCREECH) (SFX: gn B.G.) GIBBS: It's okay. CUT TO: INT. NCIS SQUAD ROOM - DAY (SFX: GIBBS BLOWS UP A RUBBER GLOVE) TONY: New hires just keep getting younger, eh, Madam Director? SHEPARD: Obviously you didn't get the memo, Agent DiNozzo. TONY: What memo? ZIVA: The one where it explains the next person who calls her Madam gets keel hauled, whatever that is. TONY: It's.... SHEPARD: Unpleasant. Tell Gibbs I want him upstairs. GIBBS: What did the Director want? ZIVA: You... upstairs. I better check on those sketches. TONY: I got a BOLO out on a black Chevy Suburban, Boss. But without plates? GIBBS: DiNozzo, you will spend the next twenty four personally checking each one in Virginia, Maryland and D.C.. TONY: That's like an impossible - I'm on that. GIBBS: (TO ZACH) You keep an eye on him for me. I'll be right back. (GIBBS WALKS O.S.) TONY: You know, he was just kidding about keeping an eye on me. ZACH: I couldn't remember when Gibbs asked me, but I think I got it right. TONY: Got what right? ZACH: The numbers... on the license plate. (INTERCUT FLASHBACK SCENE) ZACH: I was scared, but I remember most of the numbers. TONY: Oh right, Zach! My man! Come on. Give me five! Come on, meet me up high! All right. We'll work on that. Good job. CUT TO: INT. HALLWAY - DAY SHEPARD: Always admired your way with children. Ever think of having any of your own? GIBBS: Is that an offer, Jen? SHEPARD: No, it wasn't an offer, Jethro. It was merely an observation. GIBBS: You know why I get along with kids so well? Because when they lie they don't have the guile to get away with it. You wanted to see me? SHEPARD: I have spent the last hour on video-conference with the Directors of the FBI, NSA, and Homeland Security. GIBBS: Your kind of tea party. SHEPARD: If Project Honor's compromised, it will cripple our intelligence networks. They all want jurisdiction on this one. GIBBS: And you said... SHEPARD: I have my best agent working it. Now tell me you have something. GIBBS: The same men who kidnapped the Commander went after his son. SHEPARD: Have you considered that Commander Tanner might not have been kidnapped? GIBBS: I have. SHEPARD: And? GIBBS: I don't buy it. SHEPARD: Your famous gut again? GIBBS: No. His son. CUT TO: INT. LAB - DAY GIBBS: Abs, give me good news. ABBY: Oh my god, I got this email that says I may have already won fifty million dollars. And I'm really, really psyched. Oh, you mean about the case? I've been going through Q and R security logs. It's like the Fort Knox of computer systems. MCGEE: Next generation anti-virus software, intrusion detection... ABBY: Crypto processors, ACLs, firewalls up the wazoo. GIBBS: Hey hey. ABBY: Um... okay. No one can penetrate the system, Gibbs. It could be disabled if someone had a high enough clearance. GIBBS: It's an inside job. ABBY: Q and R is monitored twenty four seven. All the employees have passwords to gain access to the system. MCGEE: Like digital fingerprints. Every keystroke recorded for posterity. ABBY: At three a.m. this morning, someone planted a virus into the network. It shut down the security system for exactly one hour. MCGEE: Long enough for our hacker to breach the network, remove the software and plant the viruses. GIBBS: Who? CHIP: The virus originated from Commander Tanner's terminal, Sir. GIBBS: Someone else could have used it. CHIP: No, Sir. The data is very clear. Simply pointing out that Q and R's security system was designed to be accurate under the circumstances, Sir. ABBY: Chip! MCGEE: He's right about the design, though, Boss. GIBBS: Who designed it? MCGEE: Uh, Q and R's risk management team. But all of their people are former law enforcement and military, vetted at the highest level. GIBBS: Commander Tanner was vetted at the highest level, too. MCGEE: Tony is reviewing statements from the employees. I'm reviewing the computer terminals, but the virus wiped a lot of files. It doesn't look good for the Commander, Boss. GIBBS: Wipe that dirt off your lip! CHIP: Dirt? CUT TO: INT. SQUAD ROOM - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) LAURA: I feel like I've wasted your time, Agent DiNozzo. TONY: Bite your tongue. You've been great. LAURA: I just feel so bad for that poor little boy. TONY: Well listen, if you think of anything, you give me a call day or night. Home phone number's on the back. (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) TONY: Where've you been? I could have used your help with those interviews. ZIVA: Oh? You look like you had your hands full with her. TONY: Watch your sexual innuendo around the kid. He's had a hard day. ZIVA: He's taking it better than most adults. He's resilient. TONY: Do you see the way he's been acting around me? ZIVA: I think it's because he doesn't like you, Tony. TONY: Kids dig me. ZIVA: No they don't! TONY: Zach. Zacharoo, buddy! Come on over here, man. I was going to wait until tomorrow when everyone was here...but considering what a brave little boy you've been and how much you've helped us. I'm going to make you an honorary NCIS Agent. ZACH: Thanks. I've got to go to the head. (SFX: ZIVA LAUGHS) ZIVA: Yes, Tony. I was mistaken. Your way with children is only rivaled by your way with women. TONY: He's under a lot of stress. GIBBS: Where is Zach? TONY: Potty break, Boss. GIBBS: You gonna speak? ZIVA: I got an I.D. on one of our suspects. His name is Vincent Pazzo. Italian born. Freelance mercenary. Black ops, mostly. Some wet work. TONY: How'd you find out about that? ZIVA: I sent Zach's sketches to some people who owe me a favor. TONY: Well, if he's got the Honor program and the guy who knows how to make it work, then why'd they go after the kid? GIBBS: To force him to cooperate. ZIVA: Then there's a possibility that Commander Tanner set this up to make it look like kidnapping. GIBBS: Keep your voice down. TONY: Shh! ZIVA: That's what I would do if it were my op. The authorities are looking for a kidnapper when they should be looking for a traitor. GIBBS: It doesn't feel right, Ziva. ZIVA: It doesn't have to feel right to be right, Gibbs. CUT TO: INT. BASEMENT - NIGHT (SFX: SANDING) ZACH: Gibbs, can I ask you a question? GIBBS: Yeah, sh*t. ZACH: How are you going to get this out of here when it's finished? GIBBS: Good question. I don't know. I haven't thought about it much. ZACH: I think maybe you could use a crane or something. GIBBS: Yeah? I could dig a ramp. Knock that wall out and hoist it out of here. ZACH: I went sailing once with my dad and Commander Wilder. Didn't go too well. GIBBS: Did you get seasick? ZACH: My dad did. Commander Wilder thought it was funny, you know, my dad being in the Navy and all. You're going to find him, right? GIBBS: Oh, yeah. We'll find him. ZACH: Promise? GIBBS: Yeah. I promise. Do you want to give me a hand? ZACH: Hmm. Don't know how. GIBBS: Come on, I'll give you a hand. ZACH: I don't want to ruin it. GIBBS: You're not going to ruin anything. Come here. See? You always want to go with the grain of wood. Put your hand there. Put your weight behind it. Back and forth, real even. (SFX: SANDING) CUT TO: INT. SQUAD ROOM - DAY ZIVA: Where's Gibbs? MCGEE: Uh... home with Zach. What's up? ZIVA: Commander Tanner's bank statement. Do American's usually empty out their bank accounts before they take their children to the park? MCGEE: You're kidding! ZIVA: Savings, checking, money market. Twenty three thousand dollars. MCGEE: Gibbs is not going to like this. ZIVA: Are we solving this case to please him? TONY: I got a trace on the Chevy Suburban. Zach missed two numbers on the plate but I found the vehicle. Rental car out of Maryland. ID's fake. Credit card was stolen. But that's our other kidnapper. MCGEE: Does the car have a navigation system? Because we could use the GPS... TONY: Two words for you, McGee. Lo and Jack. MCGEE: That's one word. ZIVA: A what? TONY: It's a... whatever. I tracked it down to a parking lot a couple miles from here. GIBBS: Good job, McGee. MCGEE: What? GIBBS: Come on, let's roll! ZIVA: Where's the child? CUT TO: INT. LAB - DAY DUCKY: Now keep your eye on the coin. Yeah.... and this.... now that, my young friend, is magic. Now a true magician doesn't reveal the mysteries of his craft to anyone else but another magician. But would you like to learn? ZACH: It's in that hand. Isn't it? DUCKY: Oh! So it is. He's quite observant. ABBY: Does he remind you of anyone? DUCKY: Ah, very good. CUT TO: INT. GARAGE - NIGHT TONY: (INTO RADIO) Got it, Boss. Black SUV, no rear window. One visible suspect in the vehicle. Should we take him now? (BEGIN INTERCUTS) GIBBS: (V.O./FILTERED) Wait. (SCENE CUT) GIBBS: (INTO RADIO) I'm almost in position here. (SCENE CUT) TONY: (INTO RADIO) Copy. (TO ZIVA) Are you sure you wouldn't rather be partner with McGee? I mean, the two of you seem to click. And we're about to storm this vehicle. Who knows what's going to go down.(END INTERCUTS) ZIVA: Don't worry, Tony. I got your back. TONY: Ha! My back. Listen, lady, if anybody is getting anybody's back, it's me getting yours. (CAMERA ANGLE ON MCGEE) MCGEE: (INTO RADIO) In position, Boss. (CAMERA ANGLE ON MCGEE) GIBBS: (INTO RADIO) Take him down! (MUSIC OVER ACTION/ALL RUSH TOWARD THE SUV) (SFX: CAR DOOR OPENS) (MUSIC UP AND OUT) FADE IN: INT. AUTOPSY ROOM - DAY (SFX: DUCKY HUMS B.G.) DUCKY: Ah Ziva, what a pleasure! ZIVA: Doctor Mallard. DUCKY: Oh Ducky, please. ZIVA: Ducky! GIBBS: Are you two done with the name game? DUCKY: Our guest departed this world only a few hours ago, but he was in a great deal of pain before he died. Seems he was wounded. Single round. The bllet lodged under his scapula. The shoulder blade. GIBBS: Duck, I'm going to guess that slug's from my safe. DUCKY: As to the fatal injury, this circular burn around the entry wound suggests... ZIVA: A silncer was used. It was done in haste by someone with little, if any, experience. If a professional did this, he would have not left his wapon. It's untidy. Marks of an amateur. If it were me? I would not have been so obvious. There are literally dozens of effective ways to eliminate a target without raising suspicions. Heroin overdose is popular, but it requires a history of prior use. Of course something like insulin or potassium can be used to suggest death by natural causes. DUCKY: I really must ask you over for dinner. Mother would love to talk with you. GIBBS: They cleaned house. I wounded him when he tried to grab Zach. After that he was a liability. ZIVA: Once, again, I suggest Commander Tanner may be involved. All the evidence says he stole the software. He cleared out his bank accounts. He likely klled this man. You have to admit from an investigator's point of view, the pieces fit together quite well. (LONG bat) Or not. CUT TO: INT. LAB - DAY GIBBS: Abby! CHIP: Ballistics Lab, Sir. GIBBS: Are you serving in the military? CHIP: No, Sir. I was denied that -- GIBBS: Stop standing at attention. CHIP: I just believe it's good posture, Sir. ABBY: What? No Zachster? GIBBS: Abby, you're yelling. ABBY: Oh, sorry. Where is he? GIBBS: He's upstairs. ABBY: He's a cool kid. Reminds me of you. He's like a Mini-Gibbs. Austin Powers? GIBBS: You calling Zach a Mini-me? ABBY: Gibbs, I am so impressed with your pop culture reference! GIBBS: Tell me about the wapon. ABBY: All right. It's a Makarov Three Eighty. It matches the hollow point slugs from the body downstairs. And this bad boy that we pulled from his shoulder matches your Sig. GIBBS: Any prints on the Three Eighty? ABBY: Only from the dad guy. GIBBS: Tell me you have something else. ABBY: I have something else. GIBBS: What is it? ABBY: Chip shaved his mustache. GIBBS: I didn't notice. CHIP: Didn't notice? ABBY: He doesn't notice unimportant things, Chip. Sorry, Chip. Didn't mean it. CUT TO: INT. ELEVATOR - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) GIBBS: You getting off, Director? SHEPARD: Looking for you actually. I saw Ducky's report on the body downstairs. (SFX: ELEVATOR DINGS/DOORS SLIDE SHUT) GIBBS: That was fast. SHEPARD: One of the perks of being Director. I get to read all the good reports. What's next, Jethro? (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) GIBBS: Finishing this conversation. SHEPARD: Don't give me a hard time.(SFX: ELEVATOR DINGS/DOORS SLIDE SHUT) GIBBS: I didn't realize I was. SHEPARD: The man who supposedly kidnapped Commander Tanner is lying dad in our autopsy room. Tanner is looking less and less like a victim. GIBBS: You want back in the field again, Jen? (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) SHEPARD: Tanner has technology that could set back our intelligence monitoring thirty years. Pardon me for taking an interest. GIBBS: And here I thought you just wanted an excuse to spend time together. SHEPARD: I just want to know that this is about more than a fatherless child to you. MCGEE: Boss! SHEPARD: Didn't you notice that we're in the middle of a conversation, Agent McGee! MCGEE: Sorry. Should I come back? GIBBS: No. SHEPARD: (OVERLAP) Yes. GIBBS: I'm simply trying to solve your case here, Director. SHEPARD: Speak. MCGEE: Commander Wilder is here. He works with Commander Tanner at Q and R. CUT TO: INT. SQUAD ROOM - DAY GIBBS: Commander Wilder. WILDER: I went by his house to grab some stuff for him. Your Agents wouldn't let me in. So I bought him a Nintendo to play with. MCGEE: That's the D.S. It's an excellent system. I've heard. WILDER: This is a hell of a situation. Zach's been through so much in his life already. GIBBS: Is there a reason you wanted to see me? WILDER: Commander Tanner is a close friend. I was hoping for information. Over at Q and R they're saying he's a suspect. Do you know the sacrifices he's made to serve our country? GIBBS: I do. WILDER: I don't care what the computer log says. Commander Tanner is no traitor. What's it going to take to prove that? GIBBS: Finding who is. WILDER: Then you should be looking at Q and R's civilian employees, because right now they're falling all over themselves to try and protect their collective asses. What about Zach? Where's he staying? GIBBS: With me. WILDER: I'm the closest thing he has to family. I can take him home with me. GIBBS: Can't do that. He's under protective custody. WILDER: You mean they're after Zach, too? GIBBS: We'll take good care of him, Commander. WILDER: I'm just going to say goodbye. (WILDER WALKS TO ZACH) MCGEE: Boss, so did you tell him we think Tanner's innocent? GIBBS: We don't know he is. Do you have something to say, McGee? TONY: I've been going through the evidence we bagged from the vehicle, Boss. Prepaid burn phone. Guess whose number's on the caller I.D.? Frank Connell, Q and R office. CUT TO: INT. OFFICE - DAY FRANK: What the hell are you doing here? LAURA: I couldn't stop them, Mister Connell. TONY: It's not her fault. She was overwhelmed by a Federal search warrant. FRANK: This is completely out of line. I have been nothing but cooperative. TONY: Explain why you called the kidnappers from this office the day the Honor Code went missing. FRANK: That's a ridiculous accusation. TONY: Denying you were here? FRANK: I said in my statement I was working late that night. GIBBS: So you made the call. MCGEE: Someone's tampered with this hard drive. Tried to erase the command logs the morning of the robbery. FRANK: We had a virus. It corrupted thousands of files. GIBBS: Is that what happened, McGee? MCGEE: I can't tell 'till we get back to the lab. GIBBS: Okay, bag and tag. MCGEE: You cannot remove that computer from this building! TONY: Don't worry. You're going with it. FRANK: Go up and call the lawyers. TONY: (V.O.) You have the right to remain silent. Anything you say can and will be used against you. CUT TO: INT. SQUAD ROOM - NIGHT TONY: Hey. ZIVA: Gibbs got Connell talking yet? TONY: His lawyer won't let him talk, so Gibbs is giving him the old stare. ZIVA: Gibbs does it much better. TONY: Apple for the teacher? ZIVA: It's for McGee. He's been very generous with me. Helping me adjust to this new city. TONY: So you're giving him an apple? ZIVA: It's a small gesture. TONY: Well if you want to thank him, why don't you just get him a date? Gibbs wants to know if you've got anything he can use on Connell. ZIVA: Frank Connell's a deacon at his church. Never had a moving violation, let alone a parking ticket. And he calls his mother every Sunday. The man is spic and spam. TONY: The saying is spic and span. Spam is lunch meat. ZIVA: Oh. What exactly is span then? TONY: Span is... I'll get back to you on that. ZIVA: In my opinion, Frank Connell is not involved in this. TONY: Oh, good. I'll let Gibbs know right away because he loves to hear our opinions. ZIVA: He's distracted by his affections for Zach. TONY: Gibbs doesn't get distracted. ZIVA: What do you call it then? TONY: The Boss moves in mysterious ways. Get this to him. ZIVA: Why me? TONY: Because I'm going to go see your little buddy McGee. ZIVA: Hey, put that back! TONY: I'm just bringing it to him. CUT TO: INT. LAB - NIGHT TONY: Progress report, McGee. MCGEE: Ah, well I think that Frank Connell put a trace on Commander Tanner's computer. TONY: Think? MCGEE: Well, I've got scraps of code, protocols, commands. He might have put the trace in, collected Tanner's passwords, stolen the software. ABBY: Might have and think are not going to make Gibbs happy. MCGEE: Well, whoever wiped his files did a really good job, because there is nothing left but fragments. Can't Gibbs just break Connell in interrogation? TONY: Not with a five hundred dollar an hour defense attorney breathing down his neck. Puts it on you, McGee. MCGEE: Well, nothing I have found contradicts any of the evidence we had against Commander Tanner. TONY: I'm with you, Probie. But he's feeling pretty strong about this one. MCGEE: Has anyone considered the fact that Gibbs may be wrong this time? ABBY: (GASPS) McGee, bite your tongue! Gibbs knows what he's doing. We just have to show him love. TONY: We show the love, Abby. Just don't want to let the bad guys get away while we're doing it. Almost blocked my sht there, Chipper. Ever play ball? CHIP: College. TONY: Oh, yeah? Me, too. ABBY: Tony here ran point for Ohio State. TONY: What conference did you play in? CHIP: We didn't exactly have a conference. TONY: Division? CHIP: Not really. It was more of an intramural thing. TONY: Skins and moustaches? ABBY: Whatcha got for me? Chip? CHIP: Fingerprint analysis results. ABBY: You're free to go, Chip. CHIP: Oh, I don't mind staying late, Ma'am. ABBY: Go home Chip, please! CHIP: Is that an order? ABBY: Yes! Go!(CHIP WALKS O.S.) MCGEE: I don't know how you concentrate around that guy. ABBY: I know. No, no, no, no, no! No! I'm too good at what I do. MCGEE: No, you're not. ABBY: I am. And Gibbs is going to hate me for it! MCGEE: What happened? ABBY: Oh, it's the following up on the mrder wapon, double checking to see if there's anything I missed. MCGEE: Was there? ABBY: Fingerprints. MCGEE: On the gn?! ABBY: On the rounds in the magazine. MCGEE: Well that's great! ABBY: Most people get obsessed about cleaning the grip and the trigger. They don't think twice about the bllts. Now we've got a nice partial thumb, a forefinger, and a perfect index print. MCGEE: Amazing. ABBY: Yeah, I know. MCGEE: So whose prints are they? ABBY: Commander Tanner's. (MUSIC OUT) MUSIC IN: INT. BASEMENT - NIGHT GIBBS: Yeah. Yeah, at this rate we'll have her seaworthy in no time. ZACH: Maybe my dad can help when he gets back. GIBBS: Hubba-hubba. Dinner at the White House? SHEPARD: A date, actually. GIBBS: Must be an important guy for you to get all decked out. SHEPARD: I'd prefer if you just told me that you liked my dress. GIBBS: I haven't decided yet. SHEPARD: (TO ZACH) Do you mind giving us a moment? GIBBS: Zach, why don't you go upstairs and grab a soda. (ZACH WALKS O.S.) SHEPARD: How long are you planning on keeping Frank Connell locked up? GIBBS: You make a house call to reprimand me, Jen? SHEPARD: You've got Commander Tanner's fingerprints on the bllts of the mrder wapon. GIBBS: Well, I'm not sure he did it. SHEPARD: Why? And don't tell me your famous gut again. Zach is a great kid, Jethro. Doesn't mean his father's not a bastard. GIBBS: He might be, but Zach's our only link to him. SHEPARD: You think he might make another attempt to get Zach back? GIBBS: If he does I'll be waiting for him. ZACH: My dad didn't do anything wrong! SHEPARD: It's a complicated situation. ZACH: It's not! SHEPARD: Zach... GIBBS: Zach, there is evidence he did something wrong. ZACH: It doesn't matter. I know in my, my stomach he didn't do anything wrong. You promised you'd bring him back to me, Gibbs. Please! CUT TO: INT. SQUAD ROOM - DAY MCGEE: Where's Zach? GIBBS: Ducky's. MCGEE: Listen, Boss, I spent half the night taking Frank Connell's hard drive apart. There was nothing. I think we need to accept that Commander Tanner sold the software. GIBBS: I'm not accepting anything. MCGEE: Boss... GIBBS: We need to look at this a different way. ZIVA: I agree. I just talked to the CIA. They were very cooperative. MCGEE: They were? ZIVA: He owed me a favor. MCGEE: How many people owe you favors? ZIVA: How many dates does Tony go on a month? This is from Kosovo in the late nineties. The man with the shaved head is Vincent Pazzo. The one on the left is Willis Hirst. They were mercenaries for the Kosovo Liberation Army. MCGEE: Freedom fighters. ZIVA: Not exactly. They worked for a wrlord as specialists. MCGEE: What specialty? ZIVA: Coercion. GIBBS: trture. MCGEE: But the evidence we have against Commander Tanner. ZIVA: This is a covert operation. Take nothing at face value. They framed Commander Tanner as a diversion. GIBBS: While they trture him for the access code. MCGEE: Maybe he won't talk. ZIVA: Have you ever been tortured, McGee? There's only so much torment a human body can bear. Strong men break in a few days, but nobody can hold out forever. Not even Gibbs. With a trained interrogator, it can be done in less time. I can get that code in hours. MCGEE: They've had him for two days. ZIVA: He's running out of time if he hasn't talked already. GIBBS: A few hours, huh? ZIVA: Give or take. GIBBS: I'm putting you in a room with Frank Connell. You have forty minutes. TONY: I'd hold off on that, Boss. GIBBS: DiNozzo, where have you been? TONY: Tracking down the convenience store where our dad guy purchased his cell phone. Not easy, by the way. The language barrier between me and Mister Singh was no piece of cake either. But once I convinced him I wasn't going to shut down his convenience store, he gave me his surveillance video tapes. Is this poppy seed? GIBBS: Where is the video? TONY: Abby's lab. Sorry, Boss. She's scanning the tapes now. CUT TO: INT. LAB - DAY ABBY: The phone was purchased with cash a week before Commander Tanner disappeared. GIBBS: Pause the tape. That woman's got four phones in her hands. TONY: Zoom in, Abs. Oh, yeah. The lips and the angle of the chin, the curve of the neck. ABBY: Okay, we got it, Tony. She's attractive. TONY: It's Laura Osgood. Frank Connell's assistant. ABBY: I'll make you a print... I hate it when they do that.(TONY AND GIBBS WALK O.S.) CUT TO: INT. CONNELL'S OFFICE - DAY LAURA: What's going on? GIBBS: You bought phones connected to a robbery, a kidnapping and a mrder. ZIVA: Gibbs, her number matches several calls on the kidnapper's phone. GIBBS: You're done. Only way to help yourself is tell us everything you know. LAURA: I want a lawyer. GIBBS: Commander Tanner's been gone for forty seven hours. ZIVA: If he's not dad yet, he soon will be. MCGEE: Maybe we can convince her to change her mind about the lawyer. ZIVA: Oh, I can convince her far more than that. GIBBS: How long? ZIVA: Not long. GIBBS: McGee, are you thirsty? Come on. I'll buy you a cup of coffee. (DOOR CLOSES) CUT TO: INT. LOBBY - DAY MCGEE: Boss, what exactly is Ziva doing in there? (bat) I don't want to know. CUT TO: INT. CONNELL'S OFFICE - DAY LAURA: It was a three man team. I was on the inside. I put a trace on Commander Tanner's computer to get his passwords. I planted the virus using his log-in. ZIVA: Keep going, Laura. LAURA: Pazzo and Hirst grabbed Commander Tanner to get the access code. MCGEE: Who set it up? LAURA: I don't know. We were contacted separately. Money was wired. Instructions emailed on an anonymous server. GIBBS: Where is he? ZIVA: Commander Tanner, where is he being tortured? LAURA: (CRYING) That wasn't part of my assignment. Please, they'll kll me. It's a garage near Coleman Park. CUT TO: INT. GARAGE - DAY (PHONE RINGS) WILLIS: (INTO PHONE) Yeah? PAZZO: (V.O./FILTERED) Code checks out. Proceed as planned. WILLIS: (INTO PHONE) All right. I'll go clean up. (SFX: BANGING) (DOOR CLOSES) (MUSIC OVER ACTION/DOOR BURSTS OPEN) (ALL RUSH INTO THE GARAGE) (SFX: gn) GIBBS: Clear! Commander Tanner. TANNER: Zach? GIBBS: He's all right. He's safe. We've got him. TANNER: They told me they had him. If I didn't give them the code, they were going to k*ll him. GIBBS: You gave them the key? TANNER: I had to. They had my son. They showed me proof. GIBBS: What proof?(INTERCUT FLASHBACK SCENE) CUT TO: EXT. Q AND R BUILDING - DAY WILDER: Agent Gibbs? What in the hell's going on? (F/X: GIBBS KNOCKS WILDER TO THE GROUND) WILDER: I'm not resisting! GIBBS: Too bad. WILDER: I could have never hurt Zach. It was strictly business. TONY: We'll be sure to let him know that. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY GIBBS: Are you okay? ZACH: I guess. Commander Wilder was my dad's ... he was my friend, Gibbs. I should have known. I shouldn't have let him fool me like that. GIBBS: Zach, sometimes really bad people are good at fooling you. ZACH: Anybody bad ever fool you? GIBBS: Oh, yeah. More than once. ZACH: Someday I'm going to find them and put them all in jail. GIBBS: I believe you will. TANNER: Zach! ZACH: (SHOUTS) Dad! Daddy! Daddy! You're all right. I knew you'd never leave me. TANNER: (V.O.) I'm all right, Buddy. Everything's all right. ZACH: (V.O.) I love you, Daddy. (INTERCUT FLASHBACK SCENE OF GIBBS/ZACH/ YOUNG GIRL) (MUSIC OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x07 - Honor Code"}	foreverdreaming
MUSIC IN: INT. TONY'S HOTEL ROOM - NIGHT TONY: So what do you think? ZIVA: Not bad, I suppose. TONY: Not bad she says as she walks in from the outdoor patio, past the fax machine and the mini-bar, complimentary basket of fruit. This is the perfect way to spend a weekend. Come on! Big screen TV! Ooh! Two hundred channels. Look at this. HBO, ESPN, The Mystery Channel. Turner Classic Movies. I take it you're not interested in the premium channels? ZIVA: There's only one thing I'm interested in right now. (MUSIC OVER ACTION) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. HOTEL ROOM - NIGHT "UNDER COVERS" ZIVA: Do you think they bought it? TONY: I did. ZIVA: That's fairly obvious. TONY: For your information that's my knee. ZIVA: Whatever. You can get off of me now. TONY: It's only been ten minutes. I have a reputation to protect. ZIVA: We're not even sure if we're under surveillance yet, Tony. TONY: You can't be too careful when you're undercover. Let's give it another forty minutes, just to be realistic. ZIVA: Realistic, huh? TONY: Uh-huh. ZIVA: In that case... (F/X: TONY AND ZIVA ROLL OVER) ZIVA: I'm right on top. TONY: I can live with that.(SFX: TONY GROANS) TONY: What was that for? ZIVA: Because that was definitely not your knee. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Oh, she's very beautiful, Jethro. GIBBS: Her name's Sophie Ranier. She's mrder over twenty five people, Ducky. DUCKY: Yeah, and her friend? GIBBS: Her husband. Jean Paul Ranier. Both Canadian citizens, both contract assassins. DUCKY: She suffered extensive injuries. It may take quite a while to determine the actual cause of death. GIBBS: They were klled in a car accident two days ago outside of Kuwait International Airport. Here's the accident report. DUCKY: I'm assuming this is urgent. I've waited three months to see Giselle. GIBBS: Yeah, apologies about the girlfriend, Duck. But I do need you to... SHEPARD: Giselle's a ballet, Gibbs. You really should get out of your basement more, Jethro. (INTERCUT FLASHBACK SCENES) SHEPARD: We need to know everything we can about these two, Ducky. DUCKY: Why is NCIS investigating this? SHEPARD: Marine C.I.D. found two fake U.S. passports and two first-class tickets for Washington, D.C. in their luggage. GIBBS: They have reservations at the Barclay through November tenth. DUCKY: The Marine Corps' birthday. GIBBS: They're holding the ball there. Hosted by the Commandant of the Marine Corps. SHEPARD: Our top military leaders, Congressmen and Agency Directors will be there, including me. GIBBS: Tony and Ziva have taken their room reservations at the Barclay. They're there now pretending to be these two. They're working blind, Duck. SHEPARD: We're counting on you to fill them in on some of the more personal details of our couple. DUCKY: Oh, though it may be common knowledge that I talk to my patients. Unfortunately, to date, none of them have ever answered me back. GIBBS: Listen harder. CUT TO: INT. HOTEL ROOM - NIGHT TONY: Sweetheart, you know what I could really use right now? ZIVA: Some deodorant? TONY: I was thinking more along the lines of a back massage. ZIVA: Good idea. Why don't you roll over like a good boy? TONY: Oh, wow. Oh, and to think my mother thought I was too good for you. Ow! (SFX: TONY GASPS) CUT TO: INT. FREEMONT HOTEL - NIGHT (DOOR OPENS/ CLOSES) YUSSIF: What'd I miss? MAYA: They had sex. YUSSIF: Did they have any contact with anyone yet? MAYA: Just each other. Multiple times. YUSSIF: Was it good for you?(KNOCK ON DOOR) MAYA: Wait. Someone's knocking at their door. ZIVA: (V.O./FILTERED) Who is it? MCGEE: (V.O./FILTERED) Room service. MAYA: Room service. CUT TO: INT. TONY HOTEL ROOM - NIGHT MCGEE: Compliments of the hotel management. (WHISPERS) Gibbs wants me to sweep the room for bugs and plant some of our own. And he also wants to talk to you. ZIVA: You can put it over there, please. MCGEE: Very good, Ma'am. ZIVA: Garcon... CUT TO: INT. MTAC - NIGHT ZIVA: (V.O./FILTERED) We'd like some extra bath towels. MCGEE: (V.O./FILTERED) Of course. CUT TO: INT. TONY'S HOTEL ROOM - NIGHT MCGEE: Just checking to make sure everything's in order. Would you like me to have the maid make up the bed for you, Sir? TONY: Oh, that won't be necessary. CUT TO: INT. YUSSIF'S HOTEL ROOM ZIVA: (V.O./FILTERED) Oh, and will you check the mini bar? We'd like it restocked with Red Bull. CUT TO: INT. TONY'S HOTEL ROOM - NIGHT MCGEE: Red Bull. That'll keep you up all night, Ma'am. ZIVA: Exactly. MCGEE: Please accept this assortment of cheeses compliments of the hotel. CUT TO: INT. YUSSIF'S HOTEL ROOM YUSSIF: What's wrong? MAYA: Room service put a tray on our microphone. YUSSIF: Well you know what that means. MAYA: We're screwed? YUSSIF: Nope. You get to dress up as a maid, Maya. CUT TO: INT. TONY'S HOTEL ROOM - NIGHT MCGEE: If you whisper, it should be okay. CUT TO: INT. MTAC - NIGHT GIBBS: Comfortable, DiNozzo? TONY: (ON MONITOR) Well, yeah. I'm working on it. Why do you ask? SHEPARD: We're looking at you, Agent DiNozzo. All of you. CUT TO: INT. TONY'S HOTEL ROOM - NIGHT TONY: Ah, sorry about that. GIBBS: (V.O./FILTERED) DiNozzo... CUT TO: INT. MTAC - NIGHT GIBBS: What the hell are you doing? You're married assassins. You're not visiting the Playboy mansion. TONY: (V.O./FILTERED) It was kind of Ziva's idea, boss. CUT TO: INT. TONY'S HOTEL - NIGHT (PHONE RINGS) TONY: Incoming call. CUT TO: INT. MTAC - NIGHT SHEPARD: Have her answer it. CUT TO: INT. TONY'S HOTEL ROOM - NIGHT (PHONE RINGS) TONY: Sweet cheeks, do you think you could go over and answer the phone for me while I pour us some champagne? (TO ZIVA) Thanks, honey. (BEGIN TELEPHONE INTERCUTS) ZIVA: (INTO PHONE) Yes. (SCENE CUT) MARCOS: (INTO PHONE) There's a cell phone in the Bible next to your bed. (SCENE CUT) ZIVA: (INTO PHONE) Got it. (SCENE CUT) MARCOS: (INTO PHONE) Keep it with you at all times. (SCENE CUT) MARCOS: (V.O./FILTERED) You have dinner reservations at the hotel dining room at nine o'clock. (SCENE CUT) MARCOS: (INTO PHONE) Don't be late.(END TELEPHONE INTERCUTS) CUT TO: INT. TONY'S HOTEL ROOM - NIGHT ZIVA: The concierge. We were able to get into the dining room after all, my love. It looks like I'm getting dressed up for you tonight. CUT TO: INT. MTAC - DAY GIBBS: That wasn't the concierge. That was their contact. CUT TO: INT. YUSSIF'S HOTEL ROOM MAYA: We're on the move. Let's go. We've got to get dressed for dinner. YUSSIF: I'm coming. CUT TO: INT. AUTOPSY ROOM - NIGHT (SFX: DOORS SLIDE OPEN) ABBY: Don't look at me that way, Gibbs. It was league night when I got your nine-one-one. I was two frames away from a perfect score. And just for the record, the stupid outfits were not my idea. GIBBS: I like it. ABBY: It is kind of cute, huh? DUCKY: No sign of Mister Palmer I suppose. ABBY: Not since this afternoon, Ducky. GIBBS: Abs, these are their personal effects. Get yourself wired so you can feed whatever you find directly to DiNozzo and David. ABBY: Looking for anything in particular? GIBBS: Yeah, anything that will help those two act like them. (SFX: DOORS SLIDE CLOSED) CUT TO: INT. RESTAURANT - NIGHT GIBBS: (V.O./FILTERED) Solid on the visuals, Tony. TONY: (V.O./FILTERED) There's quite a crowd here tonight. See anyone (ON CAMERA) you know, Sweet Cheeks? ZIVA: Not yet. But the night's just getting started, my little hairy butt. CUT TO: INT. LAB - NIGHT GIBBS: Abs? ABBY: I'm loading the photos into the computer. GIBBS: Duck, got any scoop for our married couple? DUCKY: I have the breakdown of the contents of their stomachs and intestines. If Mister Ranier had lived, I would have suggested a more fiber rich diet. CUT TO: INT. RESTAURANT - NIGHT DUCKY: (V.O./FILTERED) His colon was almost impacted with fecal material. MAITRE D'(in b.g. to MAYA/YUSSIF) Good evening, table for two? TONY: Do you think it's too late to order a salad? ZIVA: I believe our food is here. Bon appetite mon petit bout. CUT TO: INT. LAB - NIGHT GIBBS: McGee, (V.O.) report. CUT TO: INT. RESTAURANT - NIGHT MCGEE: I've got the restaurant covered from the entrance, Boss. (CAMERA ANGLE ON TONY) TONY: I'm a meat and potatoes kind of guy. CUT TO: INT. AUTOPSY ROOM DUCKY: Tony, the calluses on Mister Ranier's hand.... CUT TO: INT. RESTAURANT - NIGHT DUCKY: (V.O./FILTERED)... Suggest he was left handed. GIBBS: (V.O./FILTERED) Switch hands, DiNozzo. ZIVA: This is nice, isn't it? TONY: Yeah, a quiet little dinner....just the six of us. (PHONE RINGS) ZIVA: Our friend is calling. CUT TO: INT. LAB - NIGHT GIBBS: Abs, I want that number. ABBY: Got it. ABBY: Starting the reverse search directory now. CUT TO: INT. RESTAURANT - NIGHT ZIVA: (INTO PHONE) I'm glad you called. We were getting bored.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MARCOS: (INTO PHONE) I thought it would help to see your target in person tonight. (SCENE CUT) ZIVA: (INTO PHONE) He's here? MARCOS: (V.O./FILTERED) You don't see him? ZIVA: (INTO PHONE) Relax, I'm been flying for over twenty hours. (V.O.) And the restaurant's packed. We will. CUT TO: INT. LAB - NIGHT GIBBS: Talk to me, Abs. ABBY: He's calling from a pay phone. The address is coming up. CUT TO: INT. RESTAURANT - NIGHT ZIVA: (INTO PHONE) You didn't mention anything about being surrounded by U.S. Marines. (SCENE CUT) ZIVA: (V.O./FILTERED) It's too dangerous for the sum you're paying us. MARCOS: (INTO PHONE) Accomplish your mission, we'll discuss more. (SCENE CUT) ZIVA: (INTO PHONE) But you won't pay us more. CUT TO: INT. LAB - NIGHT ABBY: Got it! Two, two oh five "M" Street. He's calling from a pay phone... CUT TO: INT. RESTAURANT - NIGHT ABBY: (V.O./FILTERED) ....Inside the restaurant! GIBBS: (V.O./FILTERED) DiNozzo! McGee! MCGEE: Already moving. TONY: I have to go to the little boy's room. CUT TO: INT. HOTEL LOBBY MARCOS: (INTO PHONE) I have to talk to my boss. (SCENE CUT) ZIVA: (INTO PHONE) Do that. We'll wait for you to - he hung up.(END TELEPHONE INTERCUTS) CUT TO: INT. LOBBY - NIGHT MCGEE: Don't move! Federal Agent! TONY: It's me, Probie. He's gone. (MUSIC OUT) MUSIC IN: INT. RESTAURANT - NIGHT TONY: Must've slipped out through the kitchen. (V.O./FILTERED) I didn't even get a look. (ON CAMERA) You want us back at the squad room, Boss? GIBBS: (V.O./FILTERED) No.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: I want you and Ziva back in your room, maintaining your cover. (SCENE CUT) TONY: Oh, all night? (SCENE CUT) GIBBS: Do I stutter or something, DiNozzo?(END TELEPHONE INTERCUTS) (SCENE CUT) ZIVA: Afraid I'll bite, Tony? TONY: The name is Jean Paul, Sophie. ZIVA: Jean Paul. CUT TO: INT. LAB - NIGHT GIBBS: Hey Abs, what do you got? ABBY: I have a "whoopee" and I have a "but." GIBBS: Abby... ABBY: Whoopee I've got a photo of the man that Tony and Ziva are going to assassinate. GIBBS: But? ABBY: But... I have no idea which of these thirty two photos is him. CUT TO: INT. MTAC - NIGHT SHEPARD: What makes you think the target's a male? Did you forget I'll be there? GIBBS: Nope. Whoever set up the ht referred to the collar as a man. SHEPARD: You've made contact. GIBBS: Ziva got a pay-phone call. SHEPARD: You trace it? GIBBS: Gee, why didn't I think of that? SHEPARD: Sorry, Jethro. I'm a little tired. GIBBS: Yeah, well, you never could pace yourself very well. (INTERCUT FLASHBACK SCENE) SHEPARD: I have one word for you, Jethro. GIBBS: Hmm... SHEPARD: Positano. GIBBS: Come on! That was a week after I took a bllet. SHEPARD: Uh-huh. Where did the call originate? GIBBS: Pay phone in the hotel. We got there. The guy was gone. SHEPARD: Uh-huh. Where did the call originate? GIBBS: Pay phone in the hotel. We got there. The guy was gone. SHEPARD: At lease we know he's here keeping tabs on the operation. GIBBS: Abby's matching these photos with reservations in the restaurant. She'll check the names against invites to the ball. It'll narrow the target. SHEPARD: What if the ht has nothing to do with the ball? Someone who's a guest at the hotel? GIBBS: Ziva told him she didn't know the target would be surrounded by Marines. SHEPARD: And he wasn't surprised? GIBBS: No. (bat) hey, nothing's going to happen tonight. Tony and Ziva are hitting the rack. All the back-up teams are in place around the hotel. Why don't you go grab forty on the couch in your office? SHEPARD: No. I just need a little coffee. GIBBS: Yeah? And when the caffeine jolt ends? SHEPARD: I'll do what you do....get a refill. GIBBS: You're not me. SHEPARD: Chauvinist. GIBBS: Yeah. Yeah. I guess. Good night, Jen. SHEPARD: Jethro --. GIBBS: Uh huh -- SHEPARD: I need to bounce something off you. GIBBS: Okay, sh*t. SHEPARD: My Director side is telling me to flood that hotel with security and notify the FBI of a potential trror1st attck. My agent side? If I do that, we lose the chance to take down an enemy cell operating inside the Capitol. They'll scatter. Of course, you'd stay the course. Trust your people to get the job done. GIBBS: Are you telling me what I'd do? SHEPARD: Asking. GIBBS: If I was Director, I'd give my people another twenty four. They can't get the job done, I'd notify the FBI. SHEPARD: You'd really do that? GIBBS: Nah. But that's why I'll never be Director. CUT TO: INT. YUSSIF'S HOTEL ROOM (SFX: SNORING B.G.) YUSSIF: The man snores like a drunken sailor.(DOOR OPENS/ CLOSES) MAYA: Well, we won't have to listen much longer. They saw their target at the restaurant. We're on plan. YUSSIF: I watched the videotape of their session this afternoon, Maya. It's pretty hot stuff. Those two really know how to live their life. You... you ever think about that maybe... MAYA: Forget it! We're here on a mission, period. You want something more than coffee, call room service. CUT TO: INT. TONY'S HOTEL ROOM - NIGHT (SFX: SNORING B.G.) TONY: Oh my god! Ziva! Shh! Come on, you're klling me here! Sophie! ZIVA: Oh! (bat) What? TONY: Nothing. I thought I heard something. (ZIVA MUMBLES) TONY: Crazy chick. CUT TO: INT. MTAC - NIGHT ZIVA: (V.O.) I heard that, my little hairy butt. CUT TO: INT. SQUAD ROOM - DAY MCGEE: Good morning, Boss. Thank you. Hey Boss, this was sitting on my front porch this morning. GIBBS: What is it? MCGEE: It's a package addressed to Ziva. GIBBS: Well, yeah. I can see that, McGee. What is in it? MCGEE: I wasn't sure if I should open it. GIBBS: That's probably why she's using you as her mule. (GIBBS OPENS THE BOX) MCGEE: Sunglasses? With different lenses? GIBBS: Why? MCGEE: To protect her eyes? You know what, I'm going to ask her. I'm going to find out. GIBBS: Yeah, good idea, McGee. Send them a wake-up call. CUT TO: INT. TONY'S HOTEL ROOM - NIGHT MCGEE: (V.O./FILTERED) Tony. TONY: Hm? MCGEE: (V.O./FILTERED) Hey, DiNozzo! CUT TO: INT. SQUAD ROOM - DAY MCGEE: Tony! This is great. They're sleeping in a five star hotel. I'm a waiter. ZIVA: (V.O./FILTERED) Want to trade places, McGee? MCGEE: (V.O.) You're awake. ZIVA: (ON MONITOR) Since zero five. CUT TO: INT. TONY'S HOTEL ROOM - NIGHT ZIVA: He snores. CUT TO: INT. SQUAD ROOM - DAY MCGEE: I got a package here for you. ZIVA: (ON MONITOR) My shades. (V.O.) Can you bring them up with breakfast? MCGEE: (V.O.) Sure. (ON CAMERA) Gibbs wants Tony up, too. ZIVA: (ON MONITOR) Huh. My pleasure. CUT TO: INT. TONY'S HOTEL ROOM - NIGHT ZIVA: Jean Paul, my little furry bear.(F/X: ZIVA POURS WATER ON TONY'S HEAD) (F/X: TONY LEAPS FROM THE BED/SHOUTING) ZIVA: Oh. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Make the stitches precise, Mister Palmer. JIMMY: Uh, yes, Doctor. DUCKY: And when you're done, I want the supply locker inventoried and cleaned. JIMMY: I uh...actually already did that, Doctor. DUCKY: Then do it again.(SFX: DOORS SLIDE OPEN) GIBBS: What have we found out, Duck? DUCKY: That my assistant, Mister Palmer here, should keep his cell phone with him and turned on at all times. GIBBS: What can you tell me about our assassins? DUCKY: Oh, Mister Ranier here had his appendix removed. Mrs. had her left wrist broken as a child. We did, however, find some rather curious markings. GIBBS: Markings? DUCKY: Well, tattoos might be the more appropriate word. Almost invisible to the naked eye. On the inside of the fourth digit on both of their left hands. GIBBS: An eight? DUCKY: Or the sign for infinity. GIBBS: Some kind of trror1st cell ID? DUCKY: On their ring fingers, perhaps it means love forever. You know, I want to take another look at the x-rays, make sure I didn't miss anything else. GIBBS: Yeah, do it. You missed a stitch there, Palmer. CUT TO: INT. TONY'S HOTEL ROOM - NIGHT TONY: We really should take you to see the doctor, Sweet Cheeks. ZIVA: Why's that? TONY: Because you snore like a drunken sailor with emphysema. ZIVA: Look who's calling the pot black. TONY: Kettle. The pot is calling the kettle black. ZIVA: Huh. I'd really like some music. Something with a little... bat, dear. TONY: Sorry.(SFX: MUSIC PLAYS B.G.) TONY: What have we got? ZIVA: Ooh, sneaky people. CUT TO: INT. SQUAD ROOM - DAY ZIVA: (V.O./FILTERED) Top floor, northwest corner, Gibbs. They have a laser trained on our room. MCGEE: I can't believe that your sunglasses can detect different light spectrums, Ziva. That's amazing. GIBBS: DiNozzo, we're going to need a diversion. TONY: (V.O./FILTERED) I think we can manage something, Boss. GIBBS: Let's roll, McGee. ABBY: Ziva, that is amazing. Big whoop, she has spy glasses. Anyone could do that. That's not amazing. She's just... ZIVA: (V.O./FILTERED) Uh, you realize we can still hear you, right, Abby? CUT TO: INT. YUSSIF'S HOTEL ROOM YUSSIF: I think I'm going to need a cold shower after this. MAYA: Disgusting. Give me those binoculars! CUT TO: INT. TONY'S HOTEL ROOM - NIGHT (SFX: ZIVA MOANS B.G.) TONY: I don't know how much longer I can keep this up. ZIVA: (COUNTS) Ninety six, ninety seven, ninety eight... CUT TO: INT. HALLWAY - DAY GIBBS: We're in position, DiNozzo. Give it the big finish. CUT TO: INT. YUSSIF'S HOTEL ROOM YUSSIF: We could make a fortune with this off the Internet. MAYA: They're serial Kllers, Yussif. I wouldn't recommend trying. (SFX: DOOR BURSTS OPEN) (SFX: ALL SHOUT OVER) GIBBS: Put them down! (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - DAY (VOICES ON TV in b.g.) MAYA: I have a whole new respect for NCIS, Agent McGee. YUSSIF: You guys are hard-core. MCGEE: We got lucky. It was actually the trained laser on the room that gave you away. MAYA: We were talking about your agents pretending to be married assassins. YUSSIF: Very convincing. MAYA: I don't think anyone in the FBI would actually go all the way just to sell a cover story. YUSSIF: I would. MCGEE: Guys, they were acting. YUSSIF: Trust me. I know when someone's acting when they're having sex. MAYA: It's true. I've met his wife. MCGEE: Tony and Ziva wouldn't.... TONY: (ON MONITOR) It's unusual for a man to like Love Story. CUT TO: INT. BALCONY - DAY SHEPARD: How do I explain to the Director of the FBI that we're running an undercover op in his jurisdiction without informing him? GIBBS: With a smile. SHEPARD: It's not funny, Gibbs. GIBBS: They had intel the two assassins were going to ht a target at the Marine Corps birthday ball. Did you get that memo? SHEPARD: No. Why didn't I think of that? GIBBS: Because you're exhausted. I told you get some sleep, and do that before you take on the Director of the FBI. SHEPARD: I can't, Jethro. GIBBS: I can fix this. SHEPARD: How? GIBBS: You're not the only one around here who knows how to play politics. SHEPARD: You're not serious? Your idea of politics usually involves some form of physical volence. GIBBS: Well, you know what they say, Jen. You can't make an omelet unless you break a few eggs. CUT TO: INT. SQUAD ROOM - DAY (SFX: DOORS SLIDE OPEN) MAYA: Are we free to go now? FORNELL: Not yet. What the hell is NCIS doing at the Barclay, Gibbs? GIBBS: Our job, Fornell. FORNELL: Yeah? That involve jeopardizing our operation? GIBBS: You're damn lucky we didn't blow these two away! FORNELL: Which wouldn't have happened if you hadn't strayed into our jurisdiction! GIBBS: Conference room. Now. FORNELL: So anxious to play with the big boys. GIBBS: Really? Big boys my ass. (GIBBS AND FORNELL WALK TO THE ELEVATOR) MCGEE: Yeah, this is going to be ugly. MAYA: Oh, yeah. Fornell hasn't been this upset since... YUSSIF: The last time we saw him. CUT TO: INT. ELEVATOR - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN/ CLOSED) FORNELL: Gum? GIBBS: The big boys? FORNELL: We really screwed this one up. GIBBS: Oh, you think, Tobias? FORNELL: The question is, how do we fix it without our Directors getting into a world class pissing match? GIBBS: Joint op. FORNELL: Who's lead? GIBBS: My team's already in place. FORNELL: Did you find out who hired them yet? GIBBS: Not yet. Working on it. FORNELL: I need more than that if I'm going to tap dance at the Hoover building, Jethro. GIBBS: Give us twenty four hours, then we flip. FORNELL: FBI gets operational control? GIBBS: Yeah, and credit for the collar. FORNELL: Agreed. The Directors get to save face and we... GIBBS: Get the job done. FORNELL: And people say we're bastards? GIBBS: Only because they know us. (FOURNELL CHUCKLES) (SFX: DOORS SLIDE OPEN) CUT TO: INT. LAB - DAY CHIP: I've got the IDs on the people in the restaurant who have invites to the Marine Corps Ball, Ma'am. Uh... Abby. Sorry. ABBY: Make sure Tony and Ziva get them. CHIP: Should I also check the restaurant staff, too? ABBY: International assassins hired to take out a waiter. CHIP: I was just trying to be thorough. ABBY: No, it's good. Good instincts, Chip. Run 'em. CHIP: Okay. Abby, can I ask you a question? ABBY: Yes. CHIP: Why don't you like Officer David? ABBY: What makes you think I don't like her? CHIP: I found this. ABBY: Oh. That. CHIP: Oh, I understand. I have the same problem with DiNozzo. ABBY: Tony is a great guy. You just have to get to know him. CHIP: Yeah, well you don't know him like I do. ABBY: He always gives new people grief. He learned that from Gibbs. Okay, quiz time. What's your take on Sophie Ranier's blood test? CHIP: Well, she's got elevated levels of human chorionic gonadotropin. ABBY: Which means? CHIP: She's pregnant? ABBY: Good, Chip. She's pregnant. GIBBS: Who's pregnant? ABBY: Ziva. I mean, not Ziva, Ziva, but Sophie Ranier, our dad ht girl. She's got a bun in the oven. CUT TO: INT. TONY'S HOTEL ROOM - NIGHT MAYA: Like what you see, Agent DiNozzo? The room's clean except for the listening devices we installed. We're free to talk. TONY: Yeah, so you're the one who's been watching us? MAYA: Oh, yeah. When this is over, we really should go out for drinks. TONY: I'd like that. ZIVA: I'm pregnant, Tony. MAYA: Maybe some other time. TONY: She... she was kidding. ZIVA: Something wrong? TONY: Thanks. ZIVA: Oh, she's really not your type anyway. TONY: Hot and in a maid's outfit? They don't get any more my type.(PHONE RINGS) ZIVA: He's learning. Number's blocked. TONY: (INTO PHONE) Talk to me.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MARCOS: (INTO PHONE) I've been told to negotiate a price commensurate with the risk. (SCENE CUT) TONY: (INTO PHONE) I'm listening. MARCOS: (V.O./FILTERED) Not on the phone. Be in the lobby in exactly one hour. (SCENE CUT) MARCOS: (INTO PHONE) A black Lincoln will be waiting out front. Make sure you're not followed. (SCENE CUT) MCGEE: (INTO PHONE) In position, Boss. (SCENE CUT) GIBBS: Your people set, Tobias? FORNELL: Got four unmarked vehicles standing by. We'll be able to follow them wherever they go. GIBBS: (INTO PHONE) Tony, Ziva, get ready to roll. Hour's almost up. (SCENE CUT) TONY: (INTO PHONE) Roger that, Boss. (TO ZIVA) You haven't fired your wapon, so it's already cleaned.(END TELEPHONE INTERCUTS) ZIVA: It calms my mind. Forces me to stay focused at the job in my hand. TONY: The term's "job at hand." ZIVA: Same difference. Is something wrong? TONY: Just trying to picture you pregnant. ZIVA: Don't. TONY: I have to. I'm going to be a father. It's a great responsibility. ZIVA: Maybe it's not yours. TONY: Maybe she didn't know. ZIVA: Oh, she knew. TONY: So why take this contract, put our unborn child in danger? ZIVA: Perhaps we needed the money. TONY: Kids are expensive. ZIVA: bllts are cheap. There's a big chance this meeting is a set-up, Tony. TONY: Are you scared? ZIVA: Nope. Excited. CUT TO: EXT. STREET - DAY MCGEE: (INTO PHONE) No sign of the Lincoln yet.(BEGIN TELEPHONE INTERCUTS) GIBBS: (V.O./FILTERED) That's a solid copy, McGee. (SCENE CUT) GIBBS: (INTO PHONE) We're sending them down. FORNELL: (INTO PHONE) All mobile units prepare to roll on my mark.(END TELEPHONE INTERCUTS) SHEPARD: This reminds me of our op in the former Czech Republic. GIBBS: You took a round in the thigh. SHEPARD: I had the same bad feeling before that op, too. CUT TO: INT. HALLWAY - DAY TONY: We're on our way to the elevator, Boss. GIBBS: (V.O./FILTERED) Tony, Ziva.... CUT TO: INT. MTAC - DAY GIBBS: We're not taking any chances on this one. First sign it goes bad you call it. CUT TO: INT. HALLWAY - DAY (SFX: ELEVATOR DINGS) TONY: Hold the door! Thanks. HENRY: Sure. TONY: Sweetheart. CUT TO: EXT. HOTEL - DAY MCGEE: (INTO PHONE) Okay, black Lincoln just pulled up. CUT TO: INT. MTAC - DAY GIBBS: (INTO PHONE) Yeah, I got a visual on that, McGee. CUT TO: INT. LAB - DAY CHIP: I got a match! Abby! CUT TO: EXT. HOTEL - DAY MCGEE: A man and a woman just got out. Heading into the hotel. CUT TO: INT. MTAC - DAY MCGEE: (V.O./FILTERED) Car's leaving. GIBBS: I can see that, McGee! FORNELL: All units, hold your positions. That's not our Lincoln. CUT TO: INT. LAB - DAY CHIP: The waiter's got a warrant out on him. ABBY: For what? CHIP: mrder. CUT TO: INT. ELEVATOR - DAY (MUSIC OVER ACTION/HENRY PULLS OUT A gn) (MUSIC OUT) MUSIC IN: INT. ELEVATOR - DAY (SFX: ELEVATOR DINGS) HENRY: You're getting off here. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) MARCOS: Not a wise choice, Mister and Mrs. Ranier. wapon. ZIVA: We would have come to the third floor ourselves. Three armed escorts seems a bit excessive. MARCOS: Very good. Our location and our number in two sentences. It's too bad your friends can't hear you. HENRY: You're being jammed. MARCOS: Bring them to my room. If they resist? sh*t the woman. HENRY: Come on, let's go. CUT TO: INT. MTAC - DAY GIBBS: Tony, Ziva, do you copy? DiNozzo! I said, do you copy? McGee! What the hell is going on there? MCGEE: (ON MONITOR) Boss, they're not in their room. They never arrived in the lobby. FORNELL: My teams have the entire outside of the building covered. They didn't leave the hotel, Gibbs. SHEPARD: Last contact was at the elevator. That leaves eleven floors they could have gotten off at. GIBBS: Eleven floors, McGee! How many rooms are we looking at? MCGEE: (ON MONITOR) Um... well if we don't count individual bathrooms and closets... GIBBS: McGee! MCGEE: (ON MONITOR) Two hundred, sixty four hotel rooms, twenty two utility rooms. GIBBS: They haven't checked in because they can't. SHEPARD: They're at the meet right now? GIBBS: They removed their earwigs and they dumped their comm when it was changed to the hotel. FORNELL: We go room by room. My people seal off the exterior... SHEPARD: No! We wait. FORNELL: What for? SHEPARD: For Ziva to contact us. We move now, we blow their cover, Fornell. FORNELL: And if their cover is already blown, Director? CUT TO: INT. HOTEL ROOM - DAY (SFX: HENRY SMASHES THE EAR PIECE) MARCOS: There are two things you should be painfully aware of right now. One, no one leaves this business. And two, never thrat the people who employ you. TONY: Should I be writing this down? (SFX: CORD HITS TONY) TONY: I take that as a no. MARCOS: Where is the disk? ZIVA: What disk? (SFX: CORD HITS TONY) MARCOS: Where, Mrs. Ranier? ZIVA: What makes you think we have it? MARCOS: We spotted your backup at the restaurant. On some level, you must have known this was going to happen. ZIVA: Oh. Observant. How much is our disk worth to you? (SFX: CORD HITS TONY) MARCOS: I have a better question. What's it worth to you? CUT TO: INT. LAB - DAY ABBY: It's bad news. It's very, very bad. Remember when we missed grabbing the guy in the restaurant? GIBBS: Mm-hmm. ABBY: Well, Tony said he didn't see anything. But the eye sees more than we think it does. It's the brain that misses stuff. It has to do with the fring of the optic nerve and the visual cortex's... GIBBS: You found something from Tony's camera. ABBY: Well, I went to the feed frame by frame. Now, Tony is looking at the pay phone because that's where he thinks the target is. But a camera doesn't think. It just records. So when he runs past the kitchen door of the restaurant, he got... this. GIBBS: Our bad guy. Run it. I want a name. ABBY: I do. I did. Marcos Ceasan. He's a contract assassin, Gibbs. He's wanted in more than five countries. It doesn't make any sense. Why would a kller hire other Kllers to do a ht for him? CUT TO: INT. HOTEL ROOM - DAY MARCOS: Out of professional courtesy, I've had Mister Cord go lightly on your husband. TONY: And I appreciate that. MARCOS: Unfortunately we're running out of time. ZIVA: If you let him go, I'll tell you where the disk is. MARCOS: You'll tell me either way, Mrs. Ranier. Why don't you two take a moment and consider your options? (MEN WALK O.S.) TONY: I might have a plan. ZIVA: What? TONY: The Raniers obviously stole something they want. You're going to give it to them. ZIVA: We don't have it. TONY: You're going to tell them it's in our hotel room. The only way they'll find it is if you show them. McGee should be waiting for us in there. ZIVA: Good plan, except for one minor drawback. TONY: What? ZIVA: When I leave, they'll most likely put a bllet through your head. TONY: Oh. Well, I didn't say it was a perfect plan. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Two centimeters below the supra orbital notch. What do you make of it, Mister Palmer? I originally assumed it was a spec of dirt on the exposure. JIMMY: It appears to be a heart? DUCKY: Yes. (CHUCKLES) A strange place to find one. Don't you agree? It appears to be gold surgically embedded in the conjunctive layer. Perhaps some type of body jewelry. JIMMY: Jewelry embedded in an eye. DUCKY: Oh, yes. You'd be amazed what people do to themselves. To Abby, please. JIMMY: You know, I doubt anyone would notice your little gold heart unless they knew it was there. Staring into your eyes, face to face... like a lover. CUT TO: INT. LAB - DAY ABBY: I found a chip in it. CHIP: Flash memory embedded underneath, Sir. Five hundred megabyte capacity. Fifty MPS throughout. ABBY: Translation, it contains the Raniers' personal data in two files. One has a list of numbered bank accounts, a deed for a restaurant, a house in Gilead, Maine. CHIP: We also ran the address. The phone service and cable are scheduled to be turned on next week, Sir. FORNELL: Sounds like a retirement plan. GIBBS: She was pregnant. They were getting out of the business. What about the other file? ABBY: It has a list of their clients: their names, addresses, phone numbers, all their information. Everything. FORNELL: Insurance policy? GIBBS: Their ticket out. FORNELL: They weren't hired to make a ht, Gibbs. GIBBS: They are the ht. CUT TO: INT. MARCOS' ROOM - DAY MARCOS: Did you know the Peruvians make blades so sharp, some people can't even feel the initial incision? TONY: Stop! The disk's in our hotel room. ZIVA: Don't! He'll only use it... MARCOS: Where? TONY: She has to show you. MARCOS: Not what I asked. TONY: You'll never find it without her, even if you kll us. MARCOS: Untie her. CUT TO: INT. HALLWAY - DAY (PHONE RINGS) HENRY: (INTO PHONE) I'm in position. CUT TO: INT. MARCOS' ROOM - DAY MARCOS: (INTO PHONE) Clear the room. I'm on my way up with the girl. CUT TO: INT. HALLWAY - DAY HENRY: (INTO PHONE) My pleasure. (DOOR OPENS) CUT TO: INT. HOTEL ROOM - DAY (DOOR OPENS) (MUSIC OVER ACTION) CUT TO: INT. MARCOS' ROOM - DAY MARCOS: Your only mistake was going for one last big payday. You got greedy. ZIVA: I'm pregnant. MARCOS: Really? Congratulations. Boy or girl? ZIVA: I don't know. We want to be surprised. MARCOS: It's the best way, believe me. How many months? TONY: Three! MARCOS: Morning sickness? TONY: Only every single day. MARCOS: I hated to see my wife go through it, but believe me, it's all worth it in the end. ZIVA: So you're not going to kll us? MARCOS: We're assassins. You know we can't just walk away from the game when we feel like it. Hell, Don't you think I'd rather be at my daughter's fifth birthday than here? TONY: So you are going to kll us? Right? MARCOS: I haven't decided yet. Give me the disk and we'll see, play it by ear. (TO CORD) If I'm not back in five minutes, kll him. (DOOR OPENS/ CLOSES) CORD: That was purely for your wife's cooperation. We like to call them little white lies. CUT TO: INT. HALLWAY - DAY MARCOS: Open it. (DOOR OPENS) CUT TO: INT. TONY'S HOTEL ROOM - NIGHT MARCOS: I hope you weren't counting on your backup, Mrs. Ranier. ZIVA: He's not my back up. (SFX: GIBBS HITS MARCOS) GIBBS: Tony? ZIVA: Third floor, room three five six. FORNELL: (INTO RADIO) All teams, third floor, room three five six. (V.O.) Federal agent in distress. (VOICE: (V.O./FILTERED) Copy. We're moving.) CUT TO: INT. MARCOS' HOTEL ROOM - DAY TONY: You know what's funny? I was really looking forward to having a kid there for a minute. That's a big step for me. Having a little DiNozzo running around. CORD: DiNozzo? TONY: Yeah, that's my full name. Special Agent Anthony DiNozzo, NCIS. (MUSIC OVER ACTION/TONY FIGHTS CORD) (SFX: CHAIR BREAKS) TONY: How does that feel? Huh? Huh, big guy?(SFX: TONY CONTINUES BEATING CORD) ZIVA: Enough! TONY: You want to punch me again?! Come on! ZIVA: Enough enough, Tony. I think you made your point. TONY: I want a divorce. CUT TO: INT. SQUAD ROOM - DAY DUCKY: The emergency room seems to have done a pretty good job. How do you feel? TONY: Better, now that I can breath. DUCKY: There doesn't appear to be any permanent damage. How many times did he ht you? TONY: I wasn't counting. ZIVA: Seven times. TONY: She was, of course. ZIVA: It was hard not to. ABBY: We're going to take really good care of you, Tony. I had Chip pull your car right around front. TONY: He drove my car? CHIP: Just from your parking space. I took extra special care. TONY: Oh, thanks. ZIVA: And uh... I'm driving you home. TONY: Probie... MCGEE: Uh Ziva, actually you shouldn't probably drive him home tonight. ZIVA: Why's that? ABBY: Maybe he wants to live. DUCKY: Yes, well however you get home, I suggest a couple of aspirin... yes, and perhaps some scotch. GIBBS: I thought doctors weren't supposed to prescribe alcohol anymore, Duck. DUCKY: Well, it always seems to work for you. GIBBS: Did you get tickets to that gazelle thing again? DUCKY: It's Giselle, Jethro. And no, that's not tonight. Marine Corps Birthday Ball. She didn't tell you? (MUSIC OVER ACTION/SHEPARD WALKS DOWN THE STAIRS) DUCKY: Our lovely Director has asked me to escort her. TONY: All right, good night, Boss. All right, I'm good.(TONY STUMBLES) ABBY: Hey Gibbs, happy birthday. (MUSIC OVER ACTION) GIBBS: I miss you guys. Semper fi. (MUSIC UP AND OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x08 - Under Covers"}	foreverdreaming
"FRAME-UP" MUSIC IN: EXT. WOODS - NIGHT GRANT: It's called "Shroomsville" because some of the guys think these reeds look like little mushrooms. MINA: Or they were on mushrooms. (MARINES WALK INTO CLEARING) GRANT: Hey! BROOKS: You're not supposed to be lighting fires out here. It's against base rules. Let's go, kids. Let's go home. You too, miss. Let's go! Last one out has to douse the fre. (BROOKS PULLS ON LEG/ STUMBLES) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "FRAME-UP" TONY: Ooh, yeah, baby! Come on. Oooh. Come on, come on. Oh, yikes. ZIVA: I'm trying to concentrate. TONY: That makes two of us, then, doesn't it, Ziva? ZIVA: Is it work-related? TONY: Of course it's work-related, Ziva. MCGEE: (READS) Judge My Tush-dot-Com? TONY: Hey, a little privacy here, Probie! ZIVA: I give it a four. MCGEE: Are you kidding? Four?! ZIVA: Out of five, I think that's good. Isn't it? MCGEE: Out of five. TONY: What do you think about this one? Come on. Come on. ZIVA: (OVERLAP) No. I will not get involved with this any further. Gibbs always seems to be just around the corner. No. No! No! TONY: (OVERLAP) Come on. Give me a little here. Give me a little something. Come on! What do you think? Rate it. ZIVA: Fine. A two. TONY: A two?? MCGEE: Ha ha!` TONY: A two? GIBBS: What's a two, DiNozzo? TONY: I was just explaining the rules to Ziva, Boss. GIBBS: And number two is what? TONY: You know, I was a little fuzzy on two. GIBBS: Grab your gear. We're going to Quantico. (TONY AND ZIVA BUMP INTO EACH OTHER) TONY: Two. ZIVA: I took three points off for excessive hair. TONY: I don't have - that's a five. ZIVA: (LAUGHS) If you shave. TONY: Shave... CUT TO: EXT. WOODS - DAY BROOKS: Marines run tactics through these woods every day, Sir. GIBBS: What time yesterday? BROOKS: Nineteen hundred. TONY: Ducky, where's Jimmy? DUCKY: Having a root canal. Allow me. ZIVA: Thank you.(SFX: BRANCH WHIPS BACKWARDS) MCGEE: Thank you. DUCKY: Oh, watch your step. ZIVA: (IN HEBREW) Toda. (Thank you.) DUCKY: (IN HEBREW) Al lo davar. (You're welcome) (IN ENGLISH) Oh, let me give you a hand. ZIVA: No, no, no. It's lovely that chivalry is not dad, Doctor. But in the Army, I swam three miles across the Red Sea after scaling rough cliffs without safety lines. I believe I can manage. Oh! DUCKY: Ah!(F/X: ZIVA SLIPS ON THE ROCKS) (SFX: WATER SPLASH) DUCKY: How refreshing. An independent woman.(SFX: LAUGHTER) CUT TO: EXT. CLEARING - DAY BROOKS: They were under this bush here, until I...uh... moved one to here. GIBBS: The teenagers? BROOKS: Said they never noticed the legs. GIBBS: Tony, sh*t. Ziva, bag and tag. McGee, samples. MCGEE: Got it. DUCKY: Well, I'm afraid a liver temp is out of the question. GIBBS: Well, talk to me, Duck. DUCKY: It's very strange. The marbling on the skin indicates advanced decomposition. But the complete lack of insect activity on the moist area of the open thigh indicates a cessation of decay. GIBBS: Any idea how long? DUCKY: Well, the muscles have gone through all three stages of rigor mortis, so that gives us at least forty eight hours. But Jethro, the leg is in pristine condition, apparently untouched by air, water, soil or insect. GIBBS: Frozen? DUCKY: Mm-mm. No ice crystals. GIBBS: Basement? DUCKY: Well, if that's the case, we are dealing with a dark soul.... one who kills, cuts and keeps. (CAMERA ANGLE ON TONY AND ZIVA) TONY: That's trash. ZIVA: I think I know what I'm doing by now. TONY: Well, MREs and paint pellets say training area to me. ZIVA: No one has ever been klled during training? MCGEE: You know, my forensic instructor back at FLET-C - he once planted a pregnancy test at a crime scene to test us. TONY: That's nice, Probie. But in my years as an investigator, I've learned that trash indigenous to an area is not worth collecting. ZIVA: What if because I did not bag and tag this trash, I happened to miss this? The finger of a rubber glove. TONY: I didn't say don't look under indigenous stuff. ZIVA: I think we're almost done here, Gibbs. GIBBS: No, I don't think so. I want every paper, projectile, stomped-on leaf within a ten-foot radius of both legs. (SFX: ZIVA GIGGLES) CUT TO: INT. AUTOPSY ROOM - DAY JIMMY: I'll bet Tony made some unseemly comment about these legs, didn't he? DUCKY: Why would he do that, Mister Palmer? JIMMY: I just mean... knowing Tony... ah... they're fairly shapely legs, Doctor. DUCKY: Yes, nobody had the bad taste to verbalize such a thought until now. Now that you've come to mention it, they do look remarkably similar to Betty Grable's. JIMMY: Betty? GIBBS: One of the all time pin-up gals in the Forties. DUCKY: Yeah, great gams. JIMMY: Gams? DUCKY: Aren't you a little young to remember Betty Grable, Jethro? GIBBS: My dad had her painted on the nose of his P-Fifty-One, Duck. JIMMY: A P-Fifty-One? DUCKY: Up to Abby. Quick as you can. JIMMY: Yes, Doctor. GIBBS: What do we know about our Jane Doe? DUCKY: She was young. Look at her femur here. It's one of the last bones in the body to develop fully. In the female, growth is complete around age twenty five. I'd say our victim was between nineteen and twenty one. GIBBS: I.D.? DUCKY: Without a toe print database, I'm afraid we'll just have to rely on good old DNA. GIBBS: What about the splotch on her calf, Duck? DUCKY: Blood. I'd say the assailant's. It's on it's way up to Abby's mass spectrometer. GIBBS: Couldn't be hers? DUCKY: It could be. But she was dad long before she was dissected. Blood no longer pulsed through her veins, when, what I would guess was a surgical saw, severed her thighs from her torso. Look, see how my glove sticks here? Also headed up to the mass spectrometer. Yes, but take a look at this. GIBBS: Skin's been removed. DUCKY: Yes. A meticulously cut circle. GIBBS: Strange keepsake. DUCKY: Actually, I think it was the kller trying to remove his marks. GIBBS: Like all sex Kllers after Bundy? DUCKY: Yes, after Theodore Bundy was identified and caught by his crooked lower teeth, sadistic biters have been forced to excise their evidence. You know, I think I might be able to get an impression of teeth from the underlying damaged tissue. GIBBS: You could get me a bite mark? DUCKY: Worth a try. CUT TO: INT. LAB - DAY (SFX: DOORS SLIDE OPEN) JIMMY: I have some samples for Abby. CHIP: Well, that's convenient because I'm Abby's assistant. JIMMY: I just wanted to say hi. I haven't seen her in a while. CHIP: She's really busy right now. JIMMY: It'll only take a minute. CHIP: You haven't been an assistant for very long, have you? JIMMY: Longer than you. CHIP: We'll see about that. JIMMY: That doesn't make any sense, Chip. CHIP: It's Charles. Charles.(SFX: DOORS SLIDE CLOSED) CUT TO: INT. INNER LAB - DAY ABBY: It's an evidence showcase showdown, Chip. What do you prefer? Possible prints, sticky stuff, or name that blood? CHIP: Uh... well, I aced serology. I was a dilettante with fingerprint identification... so ... ABBY: Name the sticky stuff for a hundred, Chip. CUT TO: INT. SQUAD ROOM - DAY ZIVA: For a Caucasian female, a factor of two point nine oh is multiplied by the tibia length. MCGEE: Okay, autopsy report says tibia is thirty eight point three four centimeters. TONY: What are you doing? MCGEE: We are calculating our Jane Doe's probable height and weight. TONY: Why didn't you ask me? ZIVA: Tony, these are complex equations we're dealing with. TONY: Whatever. She was what - five eight. So she's like a hundred and twenty five, hundred twenty six pounds. (INTO PHONE) Hey... MCGEE: Okay. One eleven point one eight six for adipose. Density of musculature... ZIVA: Let's add sixty one point five three. MCGEE: One seventy two point seven two centimeters for height. ZIVA: Ducky estimates fifty seven point zero eight kilograms in weight. MCGEE: Converting to imperial... and we're done.(SFX: COMPUTER BEEP TONES) ZIVA: She's five foot eight. MCGEE: One twenty five and a half pounds? TONY: (INTO PHONE) Hold on a second. CUT TO: INT. LAB - NIGHT ABBY: You're grumbling. CHIP: Well, I know. I can't read Ziva's writing. ABBY: It looks perfectly clear to me. You've got to loosen up, Chip. Evidence is fun. Fun. You know, fun? Fun, Chip! You're a tough case, Chip. CHIP: Yeah, I know. ABBY: Gibbs!! All this evidence and a CAFF-POW! Is it my birthday? GIBBS: Pretend it's mine. ABBY: Okay, here's what I have for you. The blood on the calf is different from the victim's. I sent both off for processing. But here's your real gift. I found a smudged print on the tip of the glove finger and clarified it into a partial print. Happy birthday. GIBBS: Get a match? ABBY: It's running through AFIS now. (SFX: COMPUTER BEEP TONES) ABBY: Whoa. (MUSIC OUT) MUSIC IN: INT. ABBY'S LAB - NIGHT TONY: I must have ripped a glove at the scene, Boss. (MUSIC OVER ACTION) TONY: Like I was saying, I must've ripped a glove at the crime scene sometime before yesterday. GIBBS: When was the last time you worked a crime scene at Quantico? TONY: Napalitano case, Boss. ABBY: The computer only found three points from your fingerprint to the sample. Most prosecutors want eleven. CHIP: Well, technically, Abby, the minimum to go to court is one. (bat) Well, I'm just saying that, you know, people have been convicted on less. TONY: Well, that's great, Chipper. Team player. ABBY: I'm going to redo this by hand. (MUSIC OVER ACTION) (SFX: COMPUTER BEEP TONES) TONY: You set this up, didn't you? ZIVA: I would never....okay, maybe I would, but I didn't. ABBY: It matches Tony. GIBBS: Put a rush on those blood samples. ABBY: I did. But it's a sixteen hour turnaround. GIBBS: Make it twelve. (TO TONY) When's the last time you were at the dentist? (PASSAGE OF TIME) TONY: (MUFFLED) Cooon't yooo haaa uuuued my een-al ray-corss? (Couldn't you have used my dental records?) DUCKY: Hold still. This is far faster and more accurate than your x-rays. TONY: You're not known for your bedside manner, are you there, Duck? DUCKY: You're just upset that I didn't have peppermint. McGee. ABBY: Here's Tony! (F/X: COMPUTER IMAGES ON SCREEN) ABBY: The program uses laser scans of three-D objects to create three-D images for comparison. CHIP: Computer generated hollow volume overlay. Measures inter-tooth spacing, dental arch, tooth thickness. TONY: All right, enough of the geek speak. ABBY: Here's Ducky's muscle tissue scan. A little three-d magic for clarity. And I give you... the kller's incisors. Next step... and don't worry, Tony, the chances of even one of your teeth matching are like a hundred thousand to one. GIBBS: Do it, Abby. (MUSIC OVER ACTION/IMAGES FLASH ON THE SCREEN) (SFX: COMPUTER BEEP TONES) CUT TO: INT. SHEPARD'S OFFICE - DAY SHEPARD: Jethro, I know DiNozzo didn't do this. But I also know that it would be political su1c1de if we got caught investigating one of our own agents. Appearances matter, Jethro. In this world, sometimes more than facts. It could ruin the Agency. Look at Robert Novak and the CIA. You have a responsibility to your man, I know that. But I have a responsibility to the entire agency. GIBBS: Jen... SHEPARD: I'm not forgetting the time I stepped in it and you covered my ass until I could get out of it, but that was alone, undercover, and in the field. Half of NCIS already knows about this. I know what you have to do, Jethro, and I won't stop you. But officially, I am suspending you from investigating this further, and I am turning it over to the FBI. GIBBS: I know. One request. SHEPARD: I'll see that Fornell runs the investigation. I always could read your mind. (INTERCUT FLASHBACK SCENES) GIBBS: Not always, Jen. CUT TO: EXT. LANDING - DAY ABBY: Still waiting on Jane Doe's DNA. MCGEE: Corporal at Quantico said that there were no missing female dependents or U.A. Marines. GIBBS: Try the base hospital. ZIVA: I checked missing persons for Maryland, Virginia, and D.C. There were a few similar descriptions. Their DNA is headed over now. GIBBS: David Brant. BRANT: Gibbs. GIBBS: I heard you were quitting. BRANT: I like to refer to it as a lateral move into the recreational sector, Jethro. GIBBS: I wish you luck with that. ZIVA: Lateral move into the recreational sector? GIBBS: Yeah, it mostly means fishing and hitting a golf ball. DiNozzo? TONY: Yeah, Boss. GIBBS: What are you doing? TONY: Somebody's setting me up. GIBBS: Two surgically-removed legs dumped into a training area. Do you think? TONY: Yeah, I was trying to think of arrestees with grudges. ZIVA: Wouldn't they all have grudges? TONY: You see my dilemma. MCGEE: Mike Macaluso? GIBBS: He's the Mafia boss Tony busted in Baltimore. TONY: They get a little touchy when they think of you as family and you turn out to be a cop. ABBY: What about that forensics dweeb that you got fired? TONY: I didn't arrest him, Abby. ABBY: Yeah, but you really, really, really pissed him off. MCGEE: Forensic tech set a kller free when he contaminated some blood samples. Tony reported him. TONY: Good old George Stewart. MCGEE: You know, maybe you should expand the list just to include people that just hate you. TONY: Hate me? Nobody hates me. MCGEE: Paula Cassidy? TONY: Don't go there. People like me. I'm a nice guy. MCGEE: What about the woman who posted your picture on the herpes alert website? TONY: Lieutenant Pam Kim. ABBY: She so went Fatal Attraction on you. TONY: Boiled the bunny. MCGEE: Oh, don't forget about Mrs. Dean. ZIVA: Another girlfriend? MCGEE: No, she thrat to cut off his... when Tony put her husband away for mrder his first wife. ZIVA: Speaking about wives. What about your ex-girlfriend, Monica? TONY: I always break up with them when I find out they're married, Ziva. Okay, all right. Thank you all, but I think that's enough. ZIVA: The personnel in the evidence garage? TONY: What about them? ZIVA: They hate you. MCGEE: She's right. You never wait your turn to check in evidence. ZIVA: And women don't appreciate being called "baggie bunnies." GIBBS: They're right, DiNozzo. Eight years. Three different forces. TONY: That's a lot of names and people to remember, Boss. GIBBS: Ziva, take the women. McGee, you take the men. I'll pull the case files of the ones DiNozzo put away who aren't on the list. TONY: Wait a minute, you never do anything. (SFX: GIBBS SLAPS TONY) TONY: Because you're such a good delegator. (SFX: DOORS SLIDE OPEN) ABBY: Oh, this is not good. (FORNELL AND THE AGENTS WALK INTO THE LAB) FORNELL: Gibbs. DiNozzo. This is Special Agent Sacks. GIBBS: He's being framed. FORNELL: I believe you. I've been there myself, Jethro. I'll take care of him. GIBBS: I know, but I want to be kept in the loop. FORNELL: Oh, now I'm hurt. Are you saying you don't trust me? GIBBS: Whoever set this up, Tobias, is a pro. If this were to go to court right now, DiNozzo would not stand a chance. FORNELL: Well, I've got to take him into custody for questioning. Or, I guess, we could question him here. GIBBS: Tony, Fornell's going to question you. TONY: You mean interrogate me. GIBBS: Question. Lie down. SACKS: After we talk to Agent DiNozzo, we'll need to requisition any evidence involved in the case. (TONY/FORNELL WALK O.S.) GIBBS: Are we covered on evidence? MCGEE: I'll just need a few hours to copy the data from Tony's hard drive, cell phone and... ABBY: I'll make duplicates of all... GIBBS: Have Ducky do the same. ZIVA: What can I do? GIBBS: Help. Help Abby. Help McGee. Help Ducky. CUT TO: INT. INTERROGATION ROOM SACKS: Where were you Tuesday night between oh nine hundred and oh three hundred the next morning? TONY: Hm.... um.... um.... would that be Zulu time? SACKS: Just run through your night. TONY: Okay. (bat) Oh, out loud. Right. I worked until seven, went for a run, drove home. Spent the night alone. Which, I know, is unusual. But it was a school night, and I wanted to watch Magnum. SACKS: What was it about? TONY: Ah-ha. The old checking-the-plot ploy. You're good, Agent Sacks. Very good. It's my favorite Magnum. It's the one where he finds himself adrift at sea after a boating accident and vividly relives his father's death during the Korean wr. SACKS: I'm going to go out on a limb here. You think you were framed. TONY: Now we're getting somewhere. SACKS: And who do you think it was who framed you? TONY: Well, any one of a hundred people maybe. I have a list if you're interested. SACKS: Do you realize the kind of trouble you're in here, DiNozzo? TONY: TONY: Oh, believe me. I do. Do you realize that you have an enormous clump of something green between your teeth? It's right there. What is it about women? Is it the way they smell or the beguiling smiles? The whispers? The secrets? (CONT.) The way they tip toe around in those little ridiculous shoes? And the way they fit their tiny little bodies into those tiny little outfits. SACKS: You're wasting my time. (DOOR OPENS/ CLOSES) CUT TO: INT. HALLWAY - DAY FORNELL: Take it easy. SACKS: This guy is implicated in a homicide and he's making jokes. FORNELL: You've never worked with NCIS before, have you, Agent Sacks? SACKS: A Federal Agent suspected of crimes doesn't get special treatment in my book. FORNELL: It's getting late. We should collect the evidence. SACKS: We have to arrest him, Fornell. Bite marks don't lie, and this guy can't stop. FORNELL: I'll think about it. CUT TO: INT. INTERROGATION ROOM - DAY (SFX: TONY BANGS RHYTHMICALLY ON THE TABLE) (INTERCUT SCENES OF LAB EXPERIMENTS OVER RHYTHMIC BEATING B.G.) CUT TO: INT. CORRIDOR - DAY FORNELL: The U.S. Attorney's going to see this as a heinous crime, Jethro. GIBBS: It is a heinous crime, Fornell. Tony didn't do it. FORNELL: Without an alibi, I'd be remiss if we didn't detain him. People are going to think we're orchestrating a cover-up. CUT TO: INT. INTERROGATION ROOM (DOOR OPENS) TONY: Finally! How'd I do? GIBBS: Fine. TONY: Fine? I thought I was Oscar material. GIBBS: Fornell's not going to book you. TONY: Uh-huh. GIBBS: But he is going to take you into custody until we figure out a few things. CUT TO: INT. LAB - NIGHT (SFX: DOORS SLIDE OPEN) GIBBS: Are you all right? ABBY: I must have screwed up, Gibbs. GIBBS: You didn't screw up, Abs. ABBY: And now I have all this evidence. Forensics. The thing that I love and I believe in. And it says Tony's a mrder. GIBBS: Tony's not a mrder. ABBY: I know he isn't. But something's gotta give. I mean, either the forensics are wrong or it's bad forensics! Or... we have to save him, Gibbs. GIBBS: We will. ABBY: Because is this goes to court with his fingerprint and his bite mark on the leg, Tony's going to prison for the rest of his life. And I'll be the one that put him there. (MUSIC OUT) MUSIC IN: INT. DETENTION CENTER - DAY TONY: TONY: I smelled you coming, Boss. Pepperoni, sausage, extra cheese, right? My favorite. Thanks. I'll save that for later. You know, I've been thinking. I'm a federal prosecutor's dream. "You do tend to date a lot, don't you, Mister DiNozzo?" "Yeah. I do tend to date a lot but where does it say that dating, you know, a new girl every week is a crime?" "No, it's not. But it does speak to your deep-seated psychological problems and commitment issues." "Really? So you're saying my intimacy issues stem from my mother who dressed me as a sailor until I was ten years old?!" "Maybe! Well, I guess it might explain why you objectify women and treat them as sexual objects. While you're being so forthright and insightful, Mister DiNozzo, why did you sink your teeth into the victim's leg?" "Because I'm angry, and I'm immature and I like control!" "You have no alibi." "Alibi? How can I have an alibi when the mrder doesn't even have a (CONT'G) time or a date?" "That's interesting. What about means? Latex glove? Scalpel? You could have gotten these things from ....work. No?" "Right. Of course. Yes, I ripped a glove at the scene. It seems a little sloppy for a Federal agent who investigates crime scenes but, you know, those are the breaks when you're a homicidal maniac dumping butchered women's remains out in the woods in the middle of the night! Right?!" I'm not getting out of this one, am I, Boss? (SFX: GIBBS HITS TONY) TONY: Thank you, Boss. CUT TO: INT. SQUAD ROOM - DAY (TYPING FX) ZIVA: Mike Macaluso. Still in jail. My sources say, his family is very happy about it. MCGEE: How is it you've been in this country only a couple months, and you already have sources? ZIVA: Who says my sources are from this country, McGee? MCGEE: (INTO PHONE) Yes, hi. klled in prison? I'm very sorry for your loss. No, you'll have to take that up with ICE. (TO GIBBS) dad. GIBBS: Where are we? MCGEE: Head of my suspects list is George Stewart. The forensic tech Tony got fired from Baltimore P.D. Lost everything when Tony accused him of contaminating blood samples in oh-two. GIBBS: Define everything. MCGEE: Wife, house, kids. Fought the fring in court and he won but by then no one would hire him. Disappeared two years ago. GIBBS: How'd he win? MCGEE: Don't know. George Stewart versus Baltimore P.D. was sealed. GIBBS: Un-disappear him. MCGEE: Right. ZIVA: Lieutenant Pam Kim. Surgical nurse. Fully capable of slicing off the woman's legs. Met Tony on the Jeremy Davison serial rpist case. GIBBS: At Quantico. MCGEE: She's the one that egged Tony's car. ZIVA: Really? GIBBS: Where is she now? ZIVA: Virginia. Returned two weeks ago from a tour in Iraq. She's on her honeymoon at the Greenbriar. MCGEE: Who'd she marry? ZIVA: Scott Sparks. MCGEE: Boss, that's the guy that she was engaged to when she met Tony. GIBBS: Get her in here. ZIVA: On it. MCGEE: Uh.... Boss? GIBBS: Uh-huh. MCGEE: I was thinking, she's... she's on her honeymoon. GIBBS: Yeah? CUT TO: INT. INTERROGATION ROOM KIM: Ever heard of coitus interruptus, Special Agent Gibbs? GIBBS: Nope. KIM: Ever been on a honeymoon? GIBBS: Yep. CUT TO: INT. OBSERVATION ROOM KIM: (FILTERED) Then you know I feel. MCGEE: You mean -- ZIVA: Flagrante delicto. MCGEE: That's... ZIVA: Roman slang for what Tony calls badda-bing badda-boom. KIM: (V.O./FILTERED) Being dragged... CUT TO: INT. INTERROGATION ROOM KIM: ....Into NCIS for interrogation isn't exactly the best way to start a marriage. GIBBS: Is your husband the same guy you dumped for Tony DiNozzo last year? KIM: Look, I had a fling with Tony and I regret every last minute of it. CUT TO: INT. OBSERVATION ROOM - DAY GIBBS: (FILTERED) Is that why you put him on the herpes website? CUT TO: INT. INTERROGATION ROOM - DAY KIM: I got a little emotional. GIBBS: A little emotional was egging his car. Putting him on the herpes website was... KIM: Bitchy. I know. CUT TO: INT. INTERROGATION ROOM - DAY ZIVA: What does a woman accomplish by cracking eggs on a man's car? MCGEE: A lot of guys really care about their cars. It's kind of like, "you break my heart, I'll break yours" thing. ZIVA: In Israel, we just sht men who are untrue. KIM: (V.O./FILTERED) Look. CUT TO: INT. INTERROGATION ROOM - DAY KIM: Tony could have turned me in when I was harassing him. He didn't. If anything, I owe him. GIBBS: When were you last at Quantico? KIM: I've been on tour in Iraq for the last eight months. GIBBS: That's not my question. KIM: I checked in with my Command ten days ago before I took leave to get married. Look, if someone brown-bagged Tony's door or torched his car, it wasn't me. GIBBS: Does your husband know about Tony? KIM: Of course he knows, but... CUT TO: INT. OBSERVATION ROOM - DAY KIM: (FILTERED) Scott's a lawyer. If he has a problem with someone, he sues them. Not... CUT TO: INT. INTERROGATION ROOM - DAY KIM: (ON CAMERA) Tony wasn't mrder, was he? GIBBS: No. KIM: Then what is this about? GIBBS: Lieutenant, you can return to your honeymoon, but if I need you... KIM: We'll be at the Greenbrier for another week. (bat) And next time, have your agent knock. (DOOR CLOSES) CUT TO: INT. OBSERVATION ROOM - DAY (DOOR OPENS) MCGEE: Boss, do you really not know what coitus interruptus means? GIBBS: Better question. Do you know what it means if you haven't located Stewart? ZIVA: My father used to say... (IN HEBREW) Esh ktana sorefet harbe teerass. GIBBS: Translate. SHEPARD: A little fre burns a great deal of corn. GIBBS: What? SHEPARD: It never really made sense to me either. ZIVA: It loses something in translation. Director. SHEPARD: I saw Lieutenant Kim leave. She have an alibi? GIBBS: No. She framed DiNozzo and I let her go. SHEPARD: So George Stewart is... GIBBS: He's next on my list. SHEPARD: You know, there's no reason to be petulant, Jethro. GIBBS: Hey, the word's pissed, Jen. You know what? You can drop the Director act. We're alone. SHEPARD: You think my job is an act? GIBBS: No, not all of it. Ass-kissing on the Hill is a skill. SHEPARD: So is castration. GIBBS: I wear a cup. (SHEPHARD HANDS GIBBS PAPER) What is this? SHEPARD: George Stewart's alias and work address. I managed to find it between kissing asses. GIBBS: It just proves you should have stayed a field agent. CUT TO: INT. LAB - DAY CHIP: Ma'am? Abby? ABBY: What? CHIP: I think I found something that might help out Tony. ABBY: Why didn't you say so? CHIP: Maybe not exonerate. But at least place someone else at the crime scene. ABBY: What is it? CHIP: You know the sticky substance found on the victim's ankle? ABBY: Yes. CHIP: Well, I chemically and instrumentally examined it. The material is an adhesive. The same kind found in duct tape or carpet tape. ABBY: How does this help Tony? CHIP: Well, I discovered an anomaly in the adhesive material. A carpet fiber. I used the FTIS and the mass spec to determine its chemical composition. It's a Dupont fiber for a Mustang. ABBY: But Tony drives .... CHIP: I know what Tony drives. But when I tested the stain resistance, it showed the fiber had a coating from a two thousand four Mustang. Tony's Mustang is a sixty six. It couldn't have been his car. ABBY: We have to get a fiber from Tony's car before it gets towed. CHIP: Nice to have you back - Abby. CUT TO: INT. AUTOPSY ROOM - DAY ZIVA: George Stewart?(DOOR OPENS) GEORGE: Petrie. I changed it legally. No sailors here.(DOOR CLOSES) GIBBS: Any Jane Does? GEORGE: Always got a couple of them. ZIVA: Could we see them? GEORGE: I told you. No sailors here. GIBBS: How do you know, if they're Jane Does? GEORGE: Look, what the hell do you two want? GIBBS: To see your Jane Does. GEORGE: Got a warrant? GIBBS: No, do we need one? GEORGE: Hell, yes. Now get out. GIBBS: Tony DiNozzo. GEORGE: What'd that bastard say about me now? I was exonerated! GIBBS: How were you exonerated? GEORGE: Fourth Circuit Court. It wasn't me that messed up that blood test. I sent it out to a lab. GIBBS: What's the name of the lab? GEORGE: Pemberton Medical Analysis. ZIVA: Sure we can't take a quick look around? GEORGE: Not without a warrant! That's what happened last time. Just a quick look around.... a few questions. Then I'm fired and my life is trashed. Now get out! ZIVA: We'll be back. With a warrant. (bat) Psst! CUT TO: INT. LAB - DAY ABBY: Reasonable doubt can go a long way with a jury, Chip. If this is someone else's carpet fiber that was on that duct tape....hello, frame-up. CHIP: The bite make? I guess you could steal dental records, create your own mold. Make an impression on the leg. ABBY: Keep going. Keep going. CHIP: And the print from the glove. I mean, anyone could have pulled those gloves from our trash. ABBY: Yes! CHIP: Yeah, but how would anyone know which was Tony's? ABBY: Don't blow it, Chip! You're on a roll. CHIP: Sorry. (SFX: RAPID BEEP TONES) ABBY: See what I mean? CHIP: Uh, no. ABBY: The carpet fibers match. Tony must've redone his carpeting. Never have a negative thought when you're on a roll. CHIP: It could have been worse. ABBY: How? CUT TO: INT. SQUAD ROOM - DAY FORNELL: The blood on the severed leg - DNA came back with a match. GIBBS: It matched DiNozzo.(FORNELL NODS HIS HEAD) (MUSIC OUT) MUSIC IN: INT. LAB - DAY ABBY: Ah! What are you doing? MCGEE: I was trying to throw away your CAFF-POW. ABBY: Why? MCGEE: I bought you a fresh one while you were sleeping. ABBY: Sleeping? I can't sleep. I've got to save Tony. What time is it? Six a.m.? I lost two hours. I have been running Jane Doe's DNA everywhere. She's not in CODIS, the Armed Forces, the fertility clinics, rare disease databases. MCGEE: Abby. Abby, it's not your fault. ABBY: Not my fault!? Someone's using forensics to frame Tony and I'm letting him get away with it. MCGEE: You'll find something. ABBY: How!? All the FBI left me was a speck of blood and a carpet fiber. I have to look at this from a new perspective. (bat) Your butt's getting bony. MCGEE: Bony? I'll have you know that Ziva rated it a four out of five, okay? ABBY: Bone marrow. There's a national database for bone marrow donors! Why is Ziva rating your butt? MCGEE: Tony started it. ABBY: Don't you blame Tony! He's almost on death row right now! MCGEE: No, no, no. Look, I.... (SFX: RAPID COMPUTER BEEP TONES) ABBY: Jane Doe is Carla Johnson. CUT TO: INT. HOSPITAL CORRIDOR - DAY CARLA: You matched my DNA with a pair of disembodied legs? I'd fre whatever lab you're using at NCIS, Agent Gibbs. I assure you they're real and they're mine. GIBBS: Are you a bone marrow donor? CARLA: I volunteered for bone marrow, organs, blood. I believe in sharing my good health. But I draw the line at body parts... at least until I'm dad. ZIVA: We got the DNA match from a bone marrow database. CARLA: I haven't donated any bone marrow yet. I did give blood to an accident victim a couple of weeks ago. She died on the operating table. ZIVA: Did she lose her legs? CARLA: No. Her chest was crushed. GIBBS: Where is her body now? CARLA: Either at our morgue or the State's. She was a Jane Doe. CUT TO: INT. LAB - DAY CHIP: I can't believe the blood we DNA-tested was someone else's from the transfusion. What are the odds of that? ABBY: The same as this kller getting away with framing Tony. CHIP: Well, the guy is a genius. You've got to give him that. ABBY: Even genii make mistakes. I did. CHIP: What was your mistake? ABBY: Giving up on forensics when I should have looked deeper. CHIP: We already processed that fiber. ABBY: I know that, Chaz-zoid! But the kller picked up this fiber, took it to work, had it in his car, carried it to the woods. There has to be some sign of that guy on this fiber. CHIP: Not if he wore gloves. ABBY: Maybe the gloves have a different residue than NCIS gloves. Maybe he smokes a cigar. Maybe there's cigar residue on the fiber. CHIP: You're testing for cigar smoke? ABBY: For a second, I lost my faith in.... but now I know that forensics was just testing me. And I will rise up and I will find the man that did this to Tony and I will crucify him! CUT TO: INT. HOSPITAL CORRIDOR - DAY ZIVA: Is it standard operating procedure for nurses to give transfusions? CARLA: No. We were low on blood and I'm a universal donor. Identifying a pair of legs must be a first. Here it is. Jane Doe was transferred to the Virginia County Coroner's office eight days ago. GIBBS: Who signed for the body? CUT TO: INT. CORONER'S OFFICE - DAY ZIVA: We have a warrant now. GEORGE: For what? I didn't do anything wrong! ZIVA: No? I can think of at least two things. Framing an NCIS Agent for mrder. And really, really, really pissing him off. GIBBS: Open it. ZIVA: I strongly recommend you do what he says. (SFX: SLAP) CUT TO: INT. REFRIGERATOR - DAY (DOOR OPENS) ZIVA: This explains why Jane Doe's legs were in pristine condition. GEORGE: You think I cut off some girl's legs? ZIVA: Did you? GEORGE: No. Why would I ever do such a thing? ZIVA: I don't know, but if you're going to talk to me, please get a breath mint first. Please! CUT TO: INT. JAIL CELL - DAY (SFX: MCGEE PLAYS THE HARMONICA) TONY: Very funny, Probie. MCGEE: Come on, Tony. It's a gift. TONY: From who? The baggie bunnies or Pam Kim? MCGEE: No, actually it's from Chip. TONY: Great. Now I'm getting crap from lab monkeys. MCGEE: Not for much longer. TONY: I knew Boss would get me out of here. What did he find? MCGEE: Well, hopefully the body that goes with those legs. TONY: What do you mean hopefully, Probie? MCGEE: Abby matched the legs that you severed... TONY: (SHOUTS) I didn't sever any legs! MCGEE: Sorry, a slip of the tongue. The legs you supposedly severed were DNA matched to a Carla Johnson who, you are not going to believe this... TONY: I'll believe it if it gets me out of here. MCGEE: She's alive! TONY: With no legs! MCGEE: No, she's got legs. (TONY GRABS MCGEE THROUGH THE BARS) MCGEE: Okay, Tony. TONY: Prison changes a man. MCGEE: Tony, come on, man. CUT TO: INT. REFRIGERATED ROOM - DAY (MUSIC OVER ACTION/GIBBS LOOKS IN THE BODY BAGS) GEORGE: He's doing it to me again! That bastard DiNozzo set me up! ZIVA: (OVERLAP) You have the right to remain silent. Anything you say can and will be used against you in a court of law. CUT TO: INT. JAIL - DAY (SFX: DOOR SLIDES OPEN) TONY: I never thought I'd say this, but I am so happy to see you, Fornell! FORNELL: That makes one of us, DiNozzo. TONY: Ha! Never even got to do my Cool Hand Luke impersonation either. What we got here is a failure to communicate. MCGEE: Never saw it. TONY: Are you kidding me? Only the greatest chain gng movie of all time. (SFX: FORNELL PLAYS THE HARMONICA B.G.) CUT TO: INT. LAB - DAY CHIP: Oh, they're throwing a little welcome back party for Agent DiNozzo upstairs. ABBY: Go, Chip. I'm not finished here. There is no way that Stewart pulled this off by himself. CHIP: Why not? ABBY: Because I refuse to believe that some alcoholic M.E.'s assistant b*at me at my own game. CHIP: Abby, don't you think you're obsessing a little? ABBY: You know what I found in the little fibers, Chippy? Sodium, chloride, potassium, black tape, urea. CHIP: Sweat? ABBY: Exactly. Should be able to pull DNA from that. I've also put a call into Pemberton Medical Analysis; the lab that fired Stewart. He's probably after them, too. CHIP: What can I do to help? ABBY: Stay out of my way. CUT TO: INT. SQUAD ROOM - NIGHT TONY: I didn't doubt you for a second, Boss. Well, maybe one second. GIBBS: No, don't thank me. It was all Abby. DUCKY: The poor girl hasn't slept since this entire affair began. TONY: Where is she? ZIVA: She's probably passed on by now. MCGEE: The term is passed out. ZIVA: Whatever. The girl is tired. SHEPARD: I got the court records from Stewart's case against Baltimore unsealed. GIBBS: You're a little late, Jen. Uh... I mean, thank you, Director. SHEPARD: Better, Jethro. CUT TO: INT. LAB - NIGHT ABBY: (INTO PHONE) All I'm saying is that you might want to warn the person who actually made the mistake that got Stewart fired. VOICE: (V.O./FILTERED) Now that-- (SFX: PHONE DISCONNECTS) ABBY: (INTO PHONE) Hello? Hello? CHIP: It looks like we lost our connection, Abby. ABBY: It was you! You worked at Pemberton Medical Analysis. CHIP: Until I got fired! ABBY: You took this job just to set up Tony? CHIP: Yep. And I did a pretty good job at it, didn't i? Didn't I? (INTERCUT FLASHBACK SCENES/TONY AND CHIP) CHIP: You know, I thought a fair trade would be taking down those two idiots who got me fired!! But you couldn't leave well enough alone, could you?! Could you?! CUT TO: INT. SQUAD ROOM - NIGHT (SFX: ZIVA LAUGHS) (GIBBS RUNS FROM THE SQUAD ROOM) SHEPARD: Jethro? CUT TO: INT. LAB - NIGHT GIBBS: Abby!(SFX: CHIP'S MUFFLED SHOUTS B.G.) ABBY: Now can I work alone? (MUSIC OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x09 - Frame-Up"}	foreverdreaming
MUSIC IN: INT. HOTEL LOBBY - NIGHT ZIVA: You sold your sperm? TONY: Stop looking at me like that. I was a freshman in college. ZIVA: There are little teenage DiNozzos running around somewhere? Oh, that's frightening. TONY: I never thought about it 'till this morning. I got a registered letter from a sperm bank telling me to contact them as soon as possible. ZIVA: Why? TONY: I don't know. GIBBS: (V.O./FILTERED) We're moving, DiNozzo. TONY: (INTO MIC) Coming out. CUT TO: INT. STAIRS - DAY GIBBS: (INTO MIC) We're on our way down. MCGEE: (V.O./FILTERED) Roger, Boss. CUT TO: INT. GARAGE - DAY MCGEE: (INTO MIC) The car's ready. GIBBS: (V.O.) Check the exit. MCGEE: (V.O./FILTERED) On it. (ON CAMERA) They're coming down! GUARD: (V.O.) Yes, Sir! (MUSIC OVER ACTION/ALL WALK TOWARD THE GARAGE) CUT TO: EXT. ALLEY - NIGHT RYAN: (V.O.) You're making a mistake. PASSENGER: You made a mistake!(SFX: MEN ARGUE B.G.) MCGEE: (INTO MIC) Boss, hold on one second. CUT TO: INT. GARAGE - NIGHT GIBBS: (INTO MIC) What do you got, McGee? CUT TO: EXT. ALLEY - NIGHT MCGEE: (INTO MIC) I'm not sure.(SFX: MEN ARGUE B.G.) CUT TO: INT. GARAGE - NIGHT GIBBS: (INTO MIC) Talk to me, McGee. (SFX: gn B.G.) GIBBS: (SHOUTS) Go! Go! Go! Get him out of here! Through the front entrance! Go! Go! Go! Go! (SFX: CAR TIRES SCREECH) CUT TO: EXT. ALLEY - NIGHT (MUSIC OVER ACTION/MCGEE TURNS OVER THE BODY) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) FADE IN: EXT. ALLEY - NIGHT "PROBIE" DUCKY: You find a wapon? GIBBS: Nope. DUCKY: We're done. Let's bag him and tag him, Mister Palmer. JIMMY: Yes, Sir. DUCKY: Do you think Mister Ryan was connected in any way to the death thrat on the Chief of Naval Operations? GIBBS: Gonna find out. It came from a human rights group protesting Marine abuse of prisoners at Gitmo. DUCKY: It's ironic, isn't it? A human rights group thrat to kll? GIBBS: Yeah, it's no different than a right-to-lifer bmb a family planning clinic, Duck. DUCKY: Yes, we live in interesting times, Jethro. GIBBS: You think, Duck? TONY: Way to go, Probie! Three shts, three hits. I guess my instruction on the range paid off, huh? MCGEE: Tony, I klled somebody, okay? (INTERCUT FLASHBACK sh*ting SCENES) GIBBS: What about the CNO? ZIVA: Secured at home. TONY: Doubled his security detail. MCGEE: Did you find his wapon? GIBBS: No. MCGEE: It's got to be here. I identified myself as a Federal officer. He fired at me. I returned fre. The SUV drove off. His wapon has got to be here. GIBBS: The SUV, McGee. Did you get the color? Number? Make? MCGEE: Dark blue or black. Virginia plate. First two numbers eight nine. I don't know the model. GIBBS: Ziva, get out a BOLO. ZIVA: On just that? (bat) Right. BOLO. GIBBS: Hang on. Hey, I want to know everything about this guy. McGee, go back to where you fired from. DiNozzo! (LOUDLY) Show me, McGee! MCGEE: Federal Officer! Drop your wapon! GIBBS: Got it? TONY: Got it. (TO MCGEE) Don't worry, McGee. I'll find the slug. CUT TO: INT. AUTOPSY ROOM - DAY ABBY: This guy's a mess. DUCKY: Yeah, you don't know the half of it. His lungs were completely blackened from what I would guess is a two-pack-a-day habit. His coronary arteries were almost completely blocked. And his liver shows definite sign of abuse. ABBY: This little sluggy's in good shape. DUCKY: I took that out of his thigh. Didn't impact any bone. It imbedded itself in the adductor longus. ABBY: Ooh. This one's all banged up. DUCKY: Yeah, left shoulder. It entered the deltopectoral triangle, smashed the fourth rib and ended up in the upper lobe of his left lung. Both of those were non-lethal. That one, however, caused massive damage. Abigail... ABBY: Ducky. DUCKY: You know, there was a time when you wouldn't set foot in Autopsy. ABBY: Look how far I've come. DUCKY: Regrettably for the moment. Look, back off. ABBY: I think I'm ready for the next big step. DUCKY: And what's that? ABBY: Assisting in an autopsy. JIMMY: Oh, yeah, right! DUCKY: Actually, Mister Palmer, a medical degree is not required even to be a coroner. Abby has an exceptional analytical mind. She's a quick study. I think you'll do very well. Put it on. Your first lesson, lesson number one. The third bllet removed what was left of the fourth rib, smashing the costal cartilage, took a piece out of the left atrium, and lodged itself against the costal surface of the scapula. ABBY: It's amazing how much damage one bllet can do. DUCKY: Definitely the kll sht. JIMMY: Um... DUCKY: Something wrong? (bat) I'm sorry, McGee. That wasn't meant for your ears. MCGEE: Not a problem, Ducky. I was hoping when I woke up this morning it was all a nightmare. ABBY: Somebody needs a hug. MCGEE: I was trained for last night, but... DUCKY: Well, shting a human cutout is not quite the same, Timothy. No one is prepared for their first kll. MCGEE: Abby, I'm going to need you to run his prints. The driver's license was phony. CUT TO: INT. SQUAD ROOM - DAY ZIVA: The only Andrew Aidan Ryan I could find is three years old and lives in Los Angeles. The address, if it existed, would be in the middle of the Potomac. GIBBS: Run his prints. ZIVA: Why didn't we think of that, Tony? TONY: Abby's working on it. FBI's identified three radical groups protesting prisoner abuse at Gitmo, Boss. GIBBS: Catch anything with the BOLO, Officer David? ZIVA: We did. Six hundred thousand SUVs. TONY: That are registered in Virginia. GIBBS: Yeah, so? TONY: So we're going to check them against radical groups. (SFX: TONY WHISPERS TO ZIVA) GIBBS: Is something bothering you, Tony? TONY: Ah... ZIVA: He doesn't want to say what we're all thinking. TONY: Spit it out. ZIVA: McGee says he was sht at, but we can't seem to find the slug, shell casing or a wapon.(PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. SUMNER: (V.O./FILTERED) Sir, the Director would like to see you in her office. GIBBS: (INTO PHONE) Be right up. (HANGS UP PHONE -TO ZIVA) McGee isn't your father and he isn't Ari. He doesn't know how to lie. TONY: What'd he say? ZIVA: Let's go back to work. CUT TO: INT. OUTER OFFICE - DAY SUMNER: Go right in, Special Agent Gibbs. CUT TO: INT. SHEPARD'S OFFICE - DAY SHEPARD: Shut the door, Jethro. (DOOR CLOSES) SHEPARD: I'm flashing back to Paris in ninety nine. (INTERCUT FLASHBACK SCENE) SHEPARD: Not what you're thinking. GIBBS: No? Then what? SHEPARD: I remember you covering for another agent.... Who messed up. GIBBS: What agent was that? SHEPARD: You know damn well what agent! GIBBS: Oh, you mean the time you sht that guy. SHEPARD: Did McGee blow it? GIBBS: McGee is a probie. Probies make mistakes. Having said that, no, I don't think he did. SHEPARD: Where's the gn? The slug that was fired... GIBBS: I don't know, but I will find out. SHEPARD: The CNO's aide called me at seven a.m. this morning. Admiral Chapman wants to know what's going on. He asked me... what are you thinking about? GIBBS: Paris. SHEPARD: Get your mind out of the bedroom, Jethro. Let's get some answers. CUT TO: INT. SQUAD ROOM - DAY RECORDED VOICE: (V.O./FILTERED) Your call is very important to us. Please stay on the line. We'll be with you in a moment. ZIVA: You've been holding for fifteen minutes. It must be important. TONY: Yep. ZIVA: Sperm bank? TONY: Yeah. ZIVA: Why'd you do it? You didn't need the money. TONY: It was easier than giving blood. ZIVA: You enjoy making those deposits. (CHUCKLES) Was there a penalty for early withdrawal? TONY: (CHUCKLES) You're a sick chick, David. WOMAN: (V.O./FILTERED) Thank you for holding. TONY: (INTO PHONE) Hi, there. I received a certified letter requesting I call. (bat) Thanks Agent Vandalay. You are the man! I owe you one. GIBBS: Doing anything useful, DiNozzo? TONY: Of the six hundred and twenty one thousand eight hundred SUVs registered in Virginia, approximately a hundred and twenty seven thousand of them are dark-colored. Vanity plates aside, one in every hundred begins with the numbers eight nine. That's over twelve hundred vehicles. ZIVA: We're running the registered owners against the names on the list of protesters. It's going to take a while. GIBBS: What's wrong? ABBY: I ran the fingerprint through AFIS. The victim's real name is John Benedict. GIBBS: Has he got a record? MCGEE: He was a Metro detective. He was working undercover. I klled a cop, Boss. (MUSIC UP AND OUT) MUSIC IN: INT. OUTER OFFICE - DAY SUMNER: Can I get you two anything? GIBBS: No, thanks. (SFX: PHONE BEEP TONE) SUMNER: (INTO PHONE) Yes, Ma'am. I'll send them in. CUT TO: INT. SHEPARD'S OFFICE - DAY SHEPARD: Special Agent Gibbs and McGee, this is Metro Police Captain Dan Karzin and Sergeant Keith Archer, the dad officer's partner. MCGEE: I'm sorry about-- KARZIN: Director Shepard already gave us the official NCIS condolences, Special Agent McGee. We're here to find out what happened. SHEPARD: Please sit. GIBBS: I'd like to ask Sergeant Archer some questions. Do you know why your partner was behind the hotel last night? ARCHER: No. We were off duty. GIBBS: When did you last see him? ARCHER: Yesterday about noon. KARZIN: They were working undercover Narcotics. Just got off a thirty six hour shift. I read your report. I've got some questions. You say you identified yourself? MCGEE: Yes, Sir. KARZIN: Loud enough to be heard? MCGEE: Definitely. KARZIN: And you contend that Lieutenant Benedict then turned and fired at you. MCGEE: Yes, Sir. KARZIN: So why can't you find a bllet or a wapon? GIBBS: We can't answer that yet. ARCHER: Yeah, I can. Bennie wasn't carrying one. KARZIN: Are you sure it happened like that, son? (INTERCUT FLASHBACK SCENES) MCGEE: It happened the way that I reported it, Captain. KARZIN: Because I knew Lieutenant John Benedict maybe twenty years. He was a highly decorated officer. A great cop. And if Agent McGee had properly identified himself the way that he claims, there's no way that Bennie would have acted thrat. GIBBS: Evidently he did. KARZIN: I don't believe it. SHEPARD: Special Agent McGee, why don't you return to the squad room? We'll call you if we need you. MCGEE: I'm really sorry. (MCGEE WALKS O.S.) KARZIN: With all due respect, Director Shepard, I think we all know what happened here. Nobody else saw another vehicle in the alley. A nervous rookie panicked. Fired prematurely. klled a veteran cop. GIBBS: McGee's young, but he's a damn good agent. Are you sure your partner wasn't carrying a wapon last night? ARCHER: It would have blown his cover on the case that we were working. GIBBS: You said he was off duty just like you are right now. ARCHER: Yeah. GIBBS: You're carrying.... in the small of your back. Your partner's liver said he drank a lot. KARZIN: Oh, go to hell. SHEPARD: Gentlemen... KARZIN: I'm not going to stand for a cover-up. SHEPARD: And neither am I, Captain! I shared our preliminary report and you'll have full access to our findings. KARZIN: I'm going to conduct my own investigation. SHEPARD: That is your prerogative. KARZIN: And I want to interrogate McGee. GIBBS: That's not going to happen! SHEPARD: I'll handle this, Special Agent Gibbs. GIBBS: McGee has made his statement. That's not going to change. SHEPARD: Thank you for coming. You'll have NCIS's full cooperation. KARZIN: Do I get to question Agent McGee? SHEPARD: Yes. But not today. (KARZIN AND ARCHER WALK O.S.) (DOOR CLOSES) SHEPARD: Before you jump down my throat, you think about what you would do if that cop sht McGee and McGee didn't have a wapon! CUT TO: INT. SQUAD ROOM - DAY ZIVA: DiNozzo, look at this. I've got a possible. Robert Gershon. Thirty two year old white male. Lives in Alexandria. Drives a two thousand three dark blue Ford Expedition. First two digits of license plate.... eight nine. TONY: McGee, was the SUV as big as an Expedition? MCGEE: Uh, maybe. I don't know. I'm not sure. ZIVA: This guy belongs to a protest group called "CACA." TONY: You're making that up. ZIVA: "Citizens Against Criminal Abuse." He was arrested last May for defacing the main entrance of the Pentagon with horse manure. TONY: Call me crazy, but a guy that belongs to a group called CACA, and smears horse pucky on a government building, doesn't make death thrat. GIBBS: DiNozzo! David! Get back in that alley. Find that damn bllet! Do it now! TONY: Boss, we spent hours. We covered every inch of where McGee was standing when he... we'll maybe find something in daylight. ZIVA: We're working the protester angle. GIBBS: GIBBS: I don't think that cop being there had anything to do with the thrat against that CNO. Can somebody tell me what the hell is going on here?! (CONT.) First, Abby's lab nerd frames DiNozzo for mrder, and then McGee kills a cop! Did somebody break a mirror? MCGEE: Boss, can I go with Tony and Ziva? An extra set of eyes might help. GIBBS: No! Metro P.D. is out to get you. You find the bllet, it's compromised evidence. Hey, DiNozzo! While you're there, see if anyone saw Benedict in the area last night. TONY: (V.O.) Got it. MCGEE: What should I do? GIBBS: Find that SUV. CUT TO: EXT. ALLEY - DAY ZIVA: This is a waste of time. TONY: Gibbs says search the alley again. We search the alley again. ZIVA: You never question anything he tells you to do, huh? TONY: Nope. ZIVA: We can't find anything because there's nothing to be found. TONY: You don't believe McGee was sht at? ZIVA: Tony, McGee stumbled across something, misread it, and overreacted. TONY: Not McGee. His brain's like a computer. It's scary. I'm sure procedures and regs warp-sped through his processor before he pulled the trigger. ZIVA: It happens so fast, you don't have time to think. TONY: We're talking about a guy who has protocols and checklists for brushing and flossing. ZIVA: I'll start flashing Benedict's photo on the street. CUT TO: INT. LAB - DAY MCGEE: Hey. ABBY: How are you doing? MCGEE: Okay. What's this music? ABBY: I'm almost done here. MCGEE: Tox screen? ABBY: Yeah. It's Benedict's. Ducky said his liver showed signs of cirrhosis, but he was clean and sober last night. MCGEE: Is that why you called me down here? ABBY: Nope. Come with me, McGee. MCGEE: Where are we going? ABBY: Your therapy session. (DOOR OPENS) MCGEE: What? What is that smell? ABBY: Aromatherapy. You're stressed. Anxious. Thirty minutes in here, and you'll be back to your old self. Probably even better. Now sit. MCGEE: I don't believe in New Age panaceas, Abby. What are these things? ABBY: Frankincense, lavender, and neroli oil. MCGEE: What the hell's neroli oil? (READS) "Used for the treatment of depression, nervous tension, flatulence, and irritable bowel syndrome." ABBY: Are you denying that more than one of those apply to you? MCGEE: You know what? I think I'm going to pass. (SFX: ABBY HANDCUFFS MCGEE TO THE CHAIR) MCGEE: Where did you get these? ABBY: Never leave home without them. MCGEE: Hey Abby, I have to get back to work. ABBY: And you will as soon as you clear your mind. You'll see things from a new perspective. Just relax, enjoy, and inhale. (DOOR CLOSES) CUT TO: INT. SQUAD ROOM - NIGHT (SFX: GIBBS LAUGHS) GIBBS: Huh. Oh... (GIBBS WALKS TO THE ELEVATOR) (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) GIBBS: Are you still here? SHEPARD: No. I'm the Director's doppelganger. GIBBS: I never did know what that meant. (SFX: DOORS SLIDE CLOSED AS A JENNY ENTERS THE ELEVATOR) (DOOR SLIDES OPEN) GIBBS: Good night. JENNY: Good night.(F/X: JENNY EXITS THE ELEVATOR) GIBBS: So a doppelganger is someone who is pissed? SHEPARD: Yes, Agent Gibbs. This one definitely is. GIBBS: Why? SHEPARD: Why? Because you countermanded me in front of Metro Police. GIBBS: I didn't countermand you. You overruled me. SHEPARD: Oh, semantics. GIBBS: Is that like doppelganger? SHEPARD: (V.O.) Get a dictionary. (SFX: DOORS SLIDE CLOSED) CUT TO: INT. MCGEE'S APARTMENT - NIGHT (TYPING FX) (SFX: KNOCKING ON DOOR B.G.) TONY: (IN VIEWFINDER) Ah ha! Open up, McGee! (DOOR OPENS) MCGEE: Tony, I'm really not in the mood. TONY: Let me in. (DOOR CLOSES) MCGEE: Okay, you're in. What do you want? TONY: We're going out. MCGEE: Where? TONY: When the going gets tough, the tough go clubbing. We have got to get you dressed. MCGEE: Tony, I really want to be alone tonight, okay? TONY: No, you don't. Still working on the novel, I see, huh? MCGEE: DiNozzo, I'm begging you. Do not rag on me tonight, okay? TONY: Well, I wouldn't be DiNozzo if I didn't. The wardrobe. (SFX: DOORS OPEN) TONY: You got any party clothes, McGee? MCGEE: Tony! TONY: Baby, you are not going to be scoring in any of this stuff. MCGEE: (SHOUTS) Hey, would you stop! I'm not going anywhere! TONY: Hey listen, man, I'm sorry. I just wanted to... MCGEE: I know. I know. I know you're just trying to help. Tony, I'm not like you guys. You were trained as a cop. Gibbs was a Marine snper. Kate protected the President of the United States. God only knows what Ziva did for Mossad. My background is biomedical engineering and computer forensics. I don't think I'm cut out to be a field agent. TONY: The first time I sht at someone.... I wet my pants. MCGEE: Really? TONY: Really. If you tell anyone that I will slap you silly. Ooh, do you have anything to eat? I know it's bad. I've been where you are. But a week from now this will all be behind you. Just a bad memory. (INTERCUT FLASHBACK SCENE OF sh*ting) (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - DAY GIBBS: What time did you get up, Ziva? ZIVA: Zero four hundred. Background check on the cop McGee klled didn't come up with anything. He drank a little too much, had three ex-wives. GIBBS: Yeah well, that does not make him a bad person. ZIVA: His police service record is clean. Several accommodations for meritorious service and a Mayoral award. Nothing negative. GIBBS: Metro's going to make it look like our Probie klled their hero. ZIVA: They're going to interrogate McGee this afternoon. Request was approved by the Director. GIBBS: And you know this how? ZIVA: I'm a spy, remember? CUT TO: INT. SHEPARD'S OFFICE - DAY (DOOR OPENS/ CLOSES) GIBBS: When were you going to tell me? SHEPARD: I see we're picking up where we left off, Jethro. GIBBS: If you're sending McGee to Metro, you're damn right, we are! SHEPARD: Didn't know I had to ask your permission. Don't give me the stare. I'm not a junior agent. GIBBS: No, you're a junior Director! SHEPARD: That's enough, Special Agent Gibbs! SUMNER: (OVER INTERCOM) Excuse me, Director. They're waiting for you in MTAC. SHEPARD: (INTO INTERCOM) I'm on my way, Cynthia. GIBBS: You have to learn how to say "no"! SHEPARD: I did, Jethro. Or have you forgotten? (DOOR OPENS/ CLOSES) MUSICAL BRIDGE TO: INT. LAB - DAY (SFX: DOORS SLIDE OPEN) ABBY: McGee, what are you doing here so early? MCGEE: I had an epiphany. A different way of tracking the SUV. ABBY: A-ha! So the aromatherapy worked. Cleared your mind so you could come up with new ideas. MCGEE: I don't know about that. ABBY: I do. Did you get any sleep last night? MCGEE: Not much. DiNozzo kept me up 'till three. ABBY: Our DiNozzo? MCGEE: He came by my apartment to... cheer me up. ABBY: Really? MCGEE: Yeah, I know. DiNozzo being nice to me means I'm really in trouble. ABBY: I think it's sweet. So what was your light bulb? MCGEE: Well, are you familiar with the Ajzen/Fishbein Theory of Reasoned Action? ABBY: Of course. MCGEE: If Lieutenant Benedict was having an argument with the man in the SUV, the theory hypothesizes there's a high probability they had prior contact. ABBY: So you're matching SUV owners to people Benedict knew? MCGEE: Exactly. ABBY: Using what as a database? MCGEE: I wrote this program to cross-check registered owners with telephone calls and e-mails sent or received by Benedict over the last three months. ABBY: Timothy, that's brilliant. MCGEE: I thought so... but I didn't get any hits. The problem is, I've only got his home and cell numbers. I was denied access to Benedict's extension at Metro. ABBY: If you had the maintenance codes for the telephone servers at the police department, do you think that would help? MCGEE: Yes. ABBY: While you're getting me a CAFF-POW... I'll make a phone call. CUT TO: INT. SQUAD ROOM - DAY TONY: (INTO PHONE) Is there any way of finding out why she wants to talk to me? (FILTERED VOICE B.G.) RECEPTIONIST: (V.O./FILTERED) Not without asking her. Are you a personal friend of hers? TONY: (INTO PHONE) I was a donor. RECEPTIONIST: (V.O./FILTERED) I'm sorry.... TONY: (INTO PHONE) I'm a donor! RECEPTIONIST: (V.O./FILTERED) Oh, a donor. Right. What was your last name again? TONY: (INTO PHONE) DiNozzo. RECEPTIONIST: (V.O./FILTERED) Can you spell that for me, please? TONY: (INTO PHONE) Big D, little I, big N, little ozzo. RECEPTIONIST: (V.O./FILTERED) And your first name? TONY: (INTO PHONE) Anthony. RECEPTIONIST: (V.O./FILTERED) Would you hold a moment? TONY: (TO ZIVA) Playing phone-tag with the sperm bank. ZIVA: You haven't found out what it's about yet? TONY: Well, they're probably running low on their favorite fossil fuel "Essence of DiNozzo." RECEPTIONIST: (V.O./FILTERED) Hello Sir? TONY: (INTO PHONE) Yeah, I'm here. RECEPTIONIST: (V.O./FILTERED) She's in a meeting at the moment. TONY: (INTO PHONE) Uh-huh. RECEPTIONIST: (V.O./FILTERED) Out of the office. TONY: (INTO PHONE) When will she be back? RECEPTIONIST: (V.O./FILTERED) Tomorrow. TONY: (INTO PHONE) Thank you. RECEPTIONIST: (V.O./FILTERED) You're welcome. ZIVA: Problem? TONY: The woman who's been trying to contact me isn't there. Her title is Director of Critical Issues. What do you think that means? ZIVA: I don't know, but it sounds serious. TONY: Yeah, it could be one of my offspring has a medical condition. Maybe they need an organ transplant. ZIVA: (LAUGHS) You.... you who won't share a Krispy Kreme Donut. You are going to give up a kidney? (ZIVA LAUGHS) TONY: You wouldn't understand. You're not a parent. CUT TO: INT. LAB - DAY (MUSIC OVER ACTION) ABBY: Ha ha. That's so cute. I didn't know you were superstitious. MCGEE: I'm not. We've got a ht. CUT TO: INT. SQUAD ROOM - DAY ZIVA: Edward Francis Halligan. Owns a black two thousand five Range Rover. License plate eight nine six seven Y-Z-E. MCGEE: He received a call from Benedict's Metro office extension two weeks ago. ABBY: You want to know how McGee figured it out? GIBBS: Nope. ZIVA: Halligan's an Irish National. He's been living here for the past three years. I'll run him by my Interpol contacts. GIBBS: Find him, Tony, and bring him in here. TONY: On it. CUT TO: INT. VAN - PARKED GIBBS: (V.O.) So. Are you gonna bust them, Archer? ARCHER: It'd blow my cover. Why don't you? GIBBS: They don't look Navy. Who are you staking out? ARCHER: It's a second tier pusher released from Elkton this morning. Right now he's in that hotel reacquainting himself with his old lady. Historically, the pusher's second stop is to look for employment. So I'm hoping he'll lead me to the local distributor. GIBBS: I'm surprised you agreed to meet. ARCHER: Just want to find out the truth. I'd appreciate it if Captain Karzin didn't find out we were talking. GIBBS: He's not going to hear anything from me. Do you know this guy? ARCHER: Never met him, but I'd love to get my hands on him. It's Ed Halligan. He's a rich Irishman rumored to be the money behind a local crack ring. GIBBS: He drives a black SUV. ARCHER: He collects expensive cars. He has dozens of them. GIBBS: Why'd Benedict call him two weeks ago? ARCHER: We set up a trap for Halligan but he never showed. Bennie suspected he was tipped. What are you getting at, Gibbs? GIBBS: We think that Halligan was the guy your partner was talking to in the alley. ARCHER: If he was, he had a legitimate reason. GIBBS: Wouldn't he have told you? ARCHER: Look, I'm.... I was the junior partner on the team. We hadn't been together that long so he didn't share everything with me. If you think that he was a dirty cop, forget it. Bennie was as straight up as they come. GIBBS: You just said you hadn't been together very long. ARCHER: How long does it take to know if your partner's dirty? GIBBS: Is that your dirt bag? ARCHER: Yeah, I gotta get to work. GIBBS: Okay. (CAR DOOR OPENS/ CLOSES) CUT TO: INT. SQUAD ROOM - DAY ZIVA: Anxious? MCGEE: Does it show? ZIVA: May I give you some advice? MCGEE: Please. ZIVA: Be confident when Metro interrogates you. If you don't believe what you're saying, how can they? MCGEE: Every time I think about it, it comes out a little different. ZIVA: For God's sakes, don't tell that to Metro. TONY: Where's the boss? ZIVA: Where's Halligan? TONY: Ah, not at home. I went to his house. It's really more like an estate. It's all marble and stone. Monolithic thing with Greco-Roman statues. Impressionist art. And flowers everywhere. In the front hall there were these two flowers like swans that were kissing. MCGEE: What about the Range Rover? TONY: Oh, that wasn't in the garage, but that thing was loaded. Lamborghini's, Ferraris, nineteen sixty five Aston Martin, the Goldfinger... MCGEE: Tony! TONY: Sorry. Sorry. Reminded me of when I was a kid in the Hamptons. MCGEE: So you have no idea where he went? TONY: Well, he told Shamus, that's his houseboy, he was going away for a few days. I'm telling you, if I had a master bedroom like that... mirrors on the ceiling... ZIVA: My contact at Interpol said Halligan's been under investigation in Ireland, Britain, and France. Several indictments. All drug related, but none ever .... Ooh, (IN HEBREW) Le-aza-zel. TONY: Whatever that is doesn't sound good. ZIVA: Halligan's on the goat. Oh, no! Not goat. Sheep? MCGEE: Lam? ZIVA: That's it. TONY: He's on the lam. There's no "B" in that, by the way. ZIVA: Thank you. He bought a ticket at Dulles yesterday afternoon. TONY: To Ireland? ZIVA: Rabat, Moroc. Via Lisbon. No extradition. MCGEE: Benedict was arresting him. I klled a cop arresting a drug lord. (MCGEE WALKS O.S.) ZIVA: His goose is cooked. TONY: You would get that one right. CUT TO: INT. INTERROGATION ROOM - DAY KARZIN: Bennie didn't point a wapon at you, did he? (INTERCUT FLASHBACK ALLEY SCENE) MCGEE: No. (MUSIC OUT) MUSIC IN: INT. OUTER OFFICE - DAY GIBBS: Is the Director in? SUMNER: Expecting you. CUT TO: INT. SHEPARD'S OFFICE - DAY (DOOR OPENS) SHEPARD: Close the door, please. GIBBS: No, you don't want that door closed, Director. SHEPARD: I don't? GIBBS: No! (DOOR CLOSES) SHEPARD: Let her rip. GIBBS: The U.S. Attorney's office is charging McGee with negligent homicide. Metro is booking him right now. Do you know why? SHEPARD: Because he admitted to making a tragic mistake. GIBBS: No, because you may know how to kiss ass, but you sure don't know how to protect it. SHEPARD: And you think you're protecting that boy by ignoring the facts? GIBBS: He's not a boy! He's a NCIS Special Agent. He's one of my people. I don't leave my people behind. It's a Marine thing. SHEPARD: What are you going to do? GIBBS: I'm going to go to Metro and get him. SHEPARD: No. GIBBS: No? SHEPARD: Your eyesight's weak, not your hearing. (DOOR OPENS) SHEPARD: You're not going to Metro because McGee's on his way here. I convinced Captain Karzin that he wasn't a flight risk and to release him into our custody until his arraignment hearing. (DOOR CLOSES) CUT TO: INT. SQUAD ROOM - DAY ZIVA: You should have gone with him. TONY: Why me? He's your bud. ZIVA: Bud? TONY: Bud. Buddy. Friend. ZIVA: You're not McGee's friend? TONY: Of course I'm his friend. ZIVA: English is a very confusing language. If you're his.... oh.... (IN HEBREW) Le-aza-zel! TONY: There's that word, again. ZIVA: Huh! Interpol missed Halligan in Portugal. He cleared Moroc Customs an hour ago. (MCGEE WALKS INTO THE SQUAD ROOM) GIBBS: I let you down. MCGEE: Boss, I think it's the other way around. GIBBS: I should have gone with you to Metro. MCGEE: I don't think it would have made a difference. I panicked. I thought he had a wapon in his hand. I need to face it. I sht a good cop making an arrest. GIBBS: What cop makes a drug bust without a wapon? ABBY: None! Rule Number Eight is going to save you, McGee! TONY: Never date a co-worker? ZIVA: Never go anywhere without your Knfe. TONY: I thought that was nine. GIBBS: Never take anything for granted. ABBY: Correcto, Jefe. But then again, you did make up the rules so... GIBBS: Get to the point, Abs. ABBY: I didn't do forensics on the jacket because we knew what happened. Then I remembered Rule Numero Ocho. GIBBS: gn residue. ABBY: Based on the density and the pattern of the stippling and the sooting, one of the slugs in Lieutenant Benedict was fired from only one foot away. MCGEE: One of my shts missed? TONY: I knew you weren't that good, Probie. Three for three at twenty five meters? I don't think so. GIBBS: Halligan sht him from behind the wheel. TONY: Wrong, Boss! GIBBS: Slap him, Ziva. (SFX: SLAP) TONY: If Halligan was behind the wheel then he was five or six feet away. I pulled the registration from the Range Rover. It was brought into DMV for an inspection because it was imported from Ireland. Right hand drive. British like Ducky's Morgan. Steering wheel's on the right hand side. MCGEE: The person I saw arguing with Benedict was a passenger. GIBBS: There was a third man. TONY: That's a great movie. Joseph Cotton. Orson Welles. GIBBS: We're looking in the wrong direction. If McGee's third round didn't ht the SUV, then it's somewhere at the other end of that alley. Go! Abby, thank you. MCGEE: Boss, he still didn't fre at me. GIBBS: You saw a flash, McGee. You heard a gn. You had no way of knowing if Benedict was fring at you or not. If I was in your position, McGee, I'd have fired. Go on! Run Halligan's phone records. See if you can't figure out who he was meeting with. MCGEE: Right. GIBBS: Could be your two rounds weren't the fatal one. CUT TO: EXT. STREET - DAY TONY: If you ever Gibbs-slap me again, David, and I will slap you back harder! ZIVA: I was following orders. TONY: The dutiful Mossad agent. You miss the spy game? It must have been exciting. ZIVA: You've seen too many James Bond movies. It's not all about car chases and sex. TONY: It wasn't? ZIVA: Well, there was a lot of sex. (SFX: TELEPHONE BEEP TONES) TONY: Ha! Ooh. Six one four. Ohio. Sperm bank. (INTO PHONE) Yeah, this is Agent DiNozzo. Yeah. Yeah, I know. There's got to be some kind of mistake because.... yeah, that's me. But, I mean... No. Thank you.(SFX: FILTERED VOICE B.G.) ZIVA: Do you want to discuss it? TONY: Ah, it's nothing. ZIVA: For two days you've obsessed on that letter, driving me crazy! Now all of a sudden it's nothing? TONY: Drop it. ZIVA: I understand. I'd be embarrassed, too. (bat) I shouldn't have done it, but your phone kept on ringing this morning and I knew this call was important. So I answered it! TONY: You talked... you talked? ZIVA: To the woman at the sperm bank, the Director of Critical Issues. Yes! I'm sorry, Tony. TONY: Ha! She had no right to tell you that no one wants my sperm! ZIVA: Ah, yes! (LAUGHS) TONY: You didn't talk to her. ZIVA: So no little DiNozzos anywhere. It's hard to believe that a stud like you would not be chosen. Were any of the prospective women shown a photo of you? Cause... TONY: You're enjoying this a lot, aren't you? ZIVA: Oh, yes. Are they going to return your sperm? TONY: Let's focus on finding the bllet. ZIVA: Don't have to. CUT TO: INT. LAB - DAY ABBY: The striations in the bllts are exact. It was definitely fired from McGee's Sig. GIBBS: Where did you two find the bllet? TONY: Miss Abby Sciuto. ZIVA: Right here, Boss. Behind the body embedded in the door frame. TONY: McGee was wide to the left. GIBBS: Where the hell is Benedict's wapon? Yeah? ABBY: I have a theory. GIBBS: Okay. ABBY: McGee identified himself. The man in the car fires point blank at Benedict. Now like you said, it was too close and it was dark. So McGee couldn't distinguish where the flash came from and McGee fires back. One missed. And when Benedict fell, he dropped his wapon through the open window of the Range Rover. What do you think? MCGEE: What's going on? TONY: We're saving your butt, McGee. GIBBS: Hey, come on. What do you got? MCGEE: A dump of Halligan's phone records. The morning of the sh*ting, he placed several calls to Sergeant Archer's home and cell phones. ZIVA: You mean Benedict's? MCGEE: No, Archer's. His partner. GIBBS: The call from Metro two weeks ago came from Archer, not Benedict. TONY: Partners share extensions at the precinct. GIBBS: I showed Archer a picture of Halligan yesterday. He acted like they'd never met. MCGEE: Well, one of the phone calls lasted eighteen minutes. GIBBS: Come on, McGee. You're with me. McGee, come here. Use my back up. MCGEE: Archer's got to know that Halligan's in Morocco. He's never going to talk. GIBBS: Is Halligan in Morocco? MCGEE: Ziva said he passed through customs. GIBBS: Well, maybe Archer doesn't know that. Pull an old warrant. CUT TO: EXT. HOUSE - DAY (SFX: CAR BRAKES TO A STOP) (CAR DOORS OPEN/ CLOSE) ARCHER: What's up? GIBBS: Got a few questions. ARCHER: He's supposed to be in custody. GIBBS: He's in my custody. You never told me you spoke with Halligan. ARCHER: Never did. MCGEE: Phone records show you exchanged several calls. ARCHER: Look, I don't care what your phone records say. I never talked to Halligan. You can ask him. MCGEE: One of the calls was two weeks ago, about the time you claim you set the trap for Halligan. ARCHER: You know what? I don't need this from the guy who klled my partner. GIBBS: McGee sht him after someone inside the car fired first. Your partner suspected you were working with Halligan. He followed you to a meet in the alley. ARCHER: You guys aren't laying this off on me. GIBBS: We pulled a nine millimeter slug out of Benedict's chest. I want to run that against your service wapon. We're gonna search the premises. ARCHER: I'm not talking to Navy wannabee cops. GIBBS: Interpol picked Halligan up in Lisbon. He never made it to Morocco. We'll get him back here and he'll talk. Halligan's not going to take the fall for you. (MUSIC OVER ACTION) (SFX: gn) GIBBS: Don't ever hesitate because you second-guessed yourself again. I'll take your badge. Are we clear? MCGEE: Clear. MUSICAL BRIDGE TO: INT. LAB - NIGHT (SFX: DOORS SLIDE OPEN/ CLOSED) ABBY: I thought you would be out celebrating. MCGEE: No. ABBY: Did you come down for a hug? MCGEE: What'd you find out? ABBY: I ran every test I could think of. The slugs are too damaged. There's no way to tell who fired the kll sh*t. Does it really matter? MCGEE: Yeah. It matters. (MUSIC OUT) (ENDING CREDITS UP AND OUT) (FADE OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x10 - Probie"}	foreverdreaming
MUSIC IN: INT. SURVEILLANCE ROOM MAN: Never get tired of this sight. MAN 2: Ah, you and me both. MAN: Where's number three? McMannis? We have a loose one. CUT TO: INT. DORMITORY NAT VANCE: I can't take much more of this! HANNAH: It's driving us crazy! NAT VANCE: Where's Taylor? HANNAH: Maybe she got lucky escaped. NAT VANCE: They're coming. MCMANNIS: Oh, my God! Tell me you did not just wave at me, Vance?! You call yourself a supermodel? Right now the only thing you are super at is looking like an idiot on TV! I count two of you. Where is little princess number three? HANNAH: Oh, my God. (MUSIC OVER ACTION/MCGEE TURNS OVER THE BODY) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) FADE IN: INT. AUTOPSY - "MODEL BEHAVIOUR" SUMNER: The next award to be presented is the Meritorious Civilian Service Medal. SHEPARD: Would Special Agent Leroy Jethro Gibbs please step forward. ZIVA: She went with the elf cut? TONY: It's called the "pixie." DUCKY: I think she looks terrific. ZIVA: Where's Gibbs? DUCKY: All the years I've known him, he's never once turned up for an awards ceremony. ZIVA: Even if he's the one receiving, Ducky? DUCKY: Especially if he's the one receiving it. SUMNER: Special Agent Gibbs? ABBY: Told you he wouldn't show. Pay up. MCGEE: You got change for a 20? ABBY: No. TONY: Nice haircut. SHEPARD: Whe the hell is he, DiNozzo? TONY: He's working on a case. SHEPARD: What case? TONY: The one that's preventing him from being here. I'll take that for him, though. SUMNER: Accepting for Special Agent Gibbs Is Special Agent Anthony DiNozzo. She's pretty. I'd like to think I'm the Michael Douglas to his Karl Malden on the streets of D.C... Thank you. SHEPARD: And thank you, everybody. That concludes our awards ceremony. TONY: Gibbs...Gibbs thanks you...thank you. Is this on? I have a speech. I didn't... I wrote a whole... whole thing. CUT TO: INT. SHEPARD'S OFFICE SHEPARD: Gibbs... where are you? GIBBS: I'm right behind you. SHEPARD: I really hate it when you do that. Tony has your award. GIBBS: He can keep it. SHEPARD: Some things never change, do they, Jethro? GIBBS: Depends on your definition of change. SHEPARD: My definition... I expect you to be there the next time I'm handing you an award. GIBBS: DiNozzo didn't tell you? I'm working a case. SHEPARD: Oh, alone in my office? GIBBS: It's high-profile, Jen. I thought you'd want to hear about it before it hits the news. SHEPARD: I'm listening. GIBBS: Well, there's a dad celebrity at Quantico. SHEPARD: Who? GIBBS: Some woman named Taylor Shane. SHEPARD: The supermodel? GIBBS: Found her hanging from an OCS security fence this morning. SHEPARD: Then why aren't you there? GIBBS: I just got the call five minutes ago. SHEPARD: Oh, and the awards ceremony started 30 minutes ago. GIBBS: Well, you know me I like to get a head start on things. I'll keep you informed. SHEPARD: Jethro, the press is going to be all over this one. I'd appreciate it if you could go easy on them. GIBBS: Telling me how to do my job, Director? SHEPARD: No, just reiterating your previous point. GIBBS: Which was? SHEPARD: I know you. CUT TO: EXT. QUANTICO - DAY GIBBS: Break out the gear. ZIVA: Boot Camp Babes is a real TV show? TONY: Reality TV at its finest. Three hot, rich babes learning what's truly important in life. ZIVA: Defending their country. TONY: No, fring machine gn while wearing bikinis. MCGEE: I think I like your reason better, Ziva. ZIVA: Your Marine Corps would actually allow these models to serve? TONY: Well, they're not joining for real. MCGEE: It's a stunt. Kind of like The Simple Life. ZIVA: The Simple Life? MCGEE: Yeah, that show about Paris Hilton? ZIVA: I never heard of it. But I've been there a few times. TONY: I wouldn't mind spending a night there myself. ZIVA: Oh, you have no idea. I often dream about it. TONY: Really? ZIVA: What? TONY: Just trying to picture Paris and you together. ZIVA: Don't get your hopes up. I'm not attracted to blondes. MCGEE: Whoa. This is bad. TONY: Gibbs is going to go completely and utterly ape... REPORTERS: What happened to the girl? What are you hiding? GIBBS: I just got here. Like I said, I just got here. REPORTERS: What condition was her body found in? GIBBS: I just got here. I haven't even had a chance... CINDY SANCHEZ: What about the other girls? How are the other girls handling it? How are they handling it...? GIBBS: Okay, that's it. Interview's over. CINDY SANCHEZ: I'm sorry. It was an accident. GIBBS: I don't care. Sergeant... secure the area. CINDY SANCHEZ: Special Agent Gibbs... PALMER: Wow, she really was beautiful. DUCKY: She still is, Mr. Palmer. She's been dad at least five hours, Jethro. GIBBS: I'm more interested in how she got that way, Duck. DUCKY: Well, her body is covered with these lacerations. None of them appear to be fatal. PALMER: We'll know more when we get her back. Um... I'll just go get the gurney now. GIBBS: Who moved the body? MCMANNIS: I did, sir. Didn't think it was right them taking pictures of Taylor hanging on the wire like that. GIBBS: You have any crime scene experience, Staff Sergeant McMannis? MCMANNIS: No, sir. But I do have public affairs experience. Photos like that aren't what the Corps agreed to support this show. GIBBS: You the liaison? MCMANNIS: Yes, sir.We've been trying to contact the producer, Thomas Crawley. He doesn't know anything about this yet. GIBBS: How'd she get up there? MCMANNIS: Looked like she was trying to climb over. That doesn't make any sense, sir. If she wanted off the show, all she had to do was ask. It's not like this is a real boot camp. GIBBS: McGee, photos. Ziva, interview the rest of the models. DiNozzo... TONY: Boss, I'm pretty familiar with the show. Maybe I should interview them. ZIVA: That would work for me. I hate models. GIBBS: Is that so? McGee... Help Ziva... interview them. Any other suggestions, DiNozzo? TONY: No, I think I got it. GIBBS: Good. I'm going to need to see all the footage that you sht on this thing. MCMANNIS: You got it, sir. Post production office is right over here. ZIVA: Do you want me to get their autographs, Tony? TONY: Hey, Probie... See if you can get them to sign it to the "Big D." CUT TO: INT. DORMITORY NATALIE: What was she doing out there, Hannah? HANNAH: Probably just looking for a bigger story line. NATALIE: Hmm? HANNAH: Think about it, Nat, the big escape. Would have made some great TV. ZIVA: Unfortunately, it did. MCGEE: Special Agent McGee, and Officer David, NCIS. We would like to ask you a few questions. ZIVA: In private, please. CAMERAMAN: Okay, let's go. MCGEE: When was the last time you saw Ms. Shane? NATALIE: Lights out. ZIVA: Time? HANNAH: Around 10: 30. ZIVA: Do you really believe she did this as a stunt? HANNAH: I don't know. I mean... Taylor would do anything for more camera time. NATALIE: Hannah, she's dad, okay? Stop being a bitch. HANNAH: The cameras are off, Natalie. You can stop pretending you cared about her. ZIVA: Hmm, you didn't get along. HANNAH: We're supermodels, honey. We don't have to get along. MCGEE: On the show you three seem like such good friends. NATALIE: They sh*t us 24 hours a day, Agent McGee. You only get to see 23 minutes of it. CUT TO: EXT. QUANTICO - DAY TONY: Hey, just about done here, boss. Thought I might check on the rest of the team... GIBBS: You're riding with the body. Make sure those damn reporters don't follow you back. TONY: How am I supposed to do that...? GIBBS: Improvise. TONY: Give me the keys. I'm driving. DUCKY: Tony. TONY: Thanks, Ducky. CUT TO: INT. DORMITORY HANNAH: Anything else I n help you with? Like maybe some hair tips for your girlfriend here? MCGEE: No, I think that about covers it. But if you can remember anything else that might help, please give us a call. ZIVA: It's called a business card. Maybe you can have one of the marines read it to you. CUT TO: INT. AUTOPSY DUCKY: No bones broken, no major arteries severed and take a look at the tox screen. Her death was not the result of tangling with the razor wire. GIBBS: Phencyclidine. Angel dust. DUCKY: Yeah. It's an overdose of PCP. Drove that poor girl flailing into that fence. She had a seizure, fell into a coma and died. GIBBS: An accidental overdose, Duck? DUCKY: I doubt it. She had enough PCP in her system to kll a small water buffalo. GIBBS: Water buffalo? DUCKY: I tire of saying small horse. I'm afraid our young model might have committed su1c1de. GIBBS: We don't investigate suicides, Duck. PALMER: We don't investigate suicides? DUCKY: Technically no. But even the most obvious su1c1de is investigated by NCIS as a mrder. PALMER: On a Marine base surrounded by cameras... DUCKY: Yes. The stuff good mysteries are made of, Mr. Palmer. FADE IN: INT. SHEPARD'S OFFICE CINDY SANCHEZ (ON TV): The incident shocked the entertainment industry and entire nation. The sudden and gruesome death of super model and recent reality star, Taylor Shane. The 25-year-old was found at approximately 6: 10 yesterday morning, hanging atop a barrier fence at the Quantico Marine base. Shane was at Quantico participating in ht reality show Boot Camp Babes. SHEPARD: I'll just fast forward to the good part. CINDY SANCHEZ (ON TV): Special Agent Gibbs, is the Marine Corps attempting to cover up how Taylor Shane died. GIBBS (ON TV): The interview's over. CINDY SANCHEZ (ON TV): The people have a right to know. GIBBS (ON TV): I don't care. SHEPARD: What were you thinking? GIBBS: Give me a break, Jen, I wasn't even asked that question. SHEPARD: You're saying they did a hatchet job on you? GIBBS: Yeah, are you saying you don't believe me? You were wrong the other day. Some things do change. SHEPARD: Part of our job is to make sure that they don't creatively edit our interviews, Jethro. GIBBS: No, that's maybe your job, Director. My job is to catch dirtbags. SHEPARD: The Marine Corps does not need anymore bad publicity at this moment. GIBBS: Supporting something called Boot Camp Babes? What did they think was gonna happen? SHEPARD: The intention of the show was to represent that the Marines could be a life changing experience. GIBBS: Maybe, in season two. Are we done here, yet? I have a dad girl downstairs and an investigation to run. SHEPARD: I've got an entire agency to run, and sound bites like these do not help when the budget's under review. Or maybe you'd like to go back to the days when we had to buy our own amo to train on the range. GIBBS: Okay, you want me to help fix this? Then get me that reporter's number. SHEPARD: You're going to apologize? GIBBS: No, ask her to dinner. CUT TO: INT. SQUAD ROOM - DAY TONY: There's Ducky. Ducky looks good. Here's the autopsy gremlin. There it is! Right there. That's my jacket. ZIVA: That's McGee's jacket. TONY: I didn't make a single broadcast. MCGEE: I wish I could say the same. Camera must have added about ten pounds to me. TONY: Actually, that was your refrigerator, Probie. You think Gibbs watched the news last night? ZIVA: I know the director did. He's been up in her office for the past half an hour. TONY: Anyone else think they were more than just partners back in the day? Hi, boss. We're just talking about Cagney and Lacey. It was a real good show. GIBBS: What we got? ZIVA: Taylor Shane checked into the Los Angeles Better Health Center in August of '02 and then again in May of '03. TONY: Publicist said it was an eating disorder, but... the truth is it was heroin, cocaine and... GIBBS: PCP. TONY: Bingo, boss. MCGEE: Friends have given several interviews over the years. They blame her drug problem mostly on the boyfriend, Noah Keller, son of Marshall Keller. TONY: Ooh, that guy owns half of Manhattan. His kids are loaded, too. MCGEE: Well, this kid was arrested for possession of illegal narcotics three times in the last five years. Twice for cocaine, once for PCP. GIBBS: Find him. MCGEE: Already on it. GIBBS: That executive show guy, Crawley? He got back last night? ZIVA: The term is "executive producer." GIBBS: Whatever. Interview him. I want to know how this girl did a fistful of PCP in the middle of his reality show. TONY: That guy dates super models? ZIVA: They're shallow, he's wealthy. It's the perfect match. Isn't your family wealthy? TONY: That's different. ZIVA: Why? TONY: My dad cut me off when I was 12. I had to earn all my dates the old fashioned way. ZIVA: Begging. CUT TO: INT. LAB - DAY GIBBS: Hey, Abs, got some good news for you. Just talked to the director, your new assistant starts Monday. ABBY: No, Gibbs. No, I can't go through that again. That is so not funny. GIBBS: No? ABBY: No. GIBBS: It was to me, kinda. Here you go. Where are we? ABBY: Well, I know why no one heard Taylor screaming when she was on the wire the other night. Two 300-car trains passed by OCS the same time she died. I doubt anyone could have heard anything. GIBBS: You on a new diet, Abs? ABBY: No, according to Ducky, there were no signs of intravenous drug use on the body, and there were traces of PCP in the lungs. GIBBS: She took it orally. ABBY: But there were also no traces of the binders and chemicals you would find when something's taken by pill. GIBBS: Yeah, well, I'm guessing that's what all this is about. ABBY: You would be guessing right. There were traces of PCP in her stomach. There was also dextrose, ferrous sulfate, riboflavin and a bunch of other chemicals that are consistent with these delectable pastries. GIBBS: Okay, which one? ABBY: That's what I've been trying to figure out. It's kind of fun. It reminds me of Bill Nye. GIBBS: Who? ABBY: Bill Nye the Science Guy? Wacky scientist with a kid's show? GIBBS: Oh, like Mr. Wizard. ABBY: Who? GIBBS: Never mind. ABBY: So, anyways, Bill Nye did an episode where he broke down the molecular structure of junk food pastries, same thing I did today, only Bill Nye was trying to get kids to eat healthier, and his pastries weren't laced with PCP, although Bill Nye once... GIBBS: Abby, the case? ABBY: Two things I know. One, I like cream filling, and two, her last meal was this. I think we're looking at death by Klowny Kake. GIBBS: That's good work, Abs. CUT TO: INT. DORMITORY MCMANNIS: Taylor got along with everyone, Hannah. Everyone but you. HANNAH: Your point is, Staff Sergeant? MCMANNIS: She committed su1c1de for a reason, I want to know why. HANNAH: How the hell would I know? MCMANNIS: You been abusing her on and off camera for the past two months. HANNAH: Oh, so it's my fault she decided to off herself? MCMANNIS: I want to know what happened in this room last night. HANNAH: Well, let's see. I went to bed, Natalie probably snuck off two or three times to the bathroom to throw up, and Taylor... well, she apparently decided to hang herself from a barbed wire fence. Anything else I can help you with, Staff Sergeant? MCMANNIS: You're a real piece of work, Bressling. Get out of my sight. I'll see you at the pull-up bars. HANNAH: With pleasure. ZIVA: Is this a bad time, Staff Sergeant? MCMANNIS: No, ma'am. Just counting the days till this reality show is off of my base. TONY: We need to speak with Thomas Crawley. MCMANNIS: So do I, sir. He's asked not to be disturbed. ZIVA: A girl died from a drug overdose while taping the show. Disturbing him is not our primary concern. MCMANNIS: Taylor overdosed? On what? TONY: PCP, a lot of it. MCMANNIS: That's why she tried to climb that fence 'cause she was on drugs? TONY: She was most likely delusional. ZIVA: Perhaps she thought someone was chasing her. TONY: You know how she got the drugs, Staff Sergeant? MCMANNIS: No, sir. I know she had some problems in the past, but if anything, she was anti-drugs. Hell, she wouldn't even take an aspirin. TONY: Where's Crawley, Staff Sergeant? MCMANNIS: His office. It's just outside that door. CUT TO: INT. CRAWLEY'S OFFICE TONY: Mr. Crawley. Mr. Crawley? CRAWLEY: I'm sorry. Please, I was thinking about my daughter. Her death just... TONY: Taylor Shane was your daughter? CRAWLEY: I became her legal guardian when she was 15. We've been through a lot together, but... ZIVA: Were you aware that she had a drug problem? CRAWLEY: Taylor's been clean and sober for over two years now. ZIVA: She OD'd on PCP. CRAWLEY: No, no. There's no way. She would never go through that again. ZIVA: Statistically, addicts fall back in times of stress. TONY: Meaning Marine boot camp probably wasn't the best environment for her. CRAWLEY: This entire reality series was Taylor's idea. I've never seen her happier. She loved it here. ZIVA: How did she get the drugs? CRAWLEY: She didn't. The whole point of the show was to show that she wasn't that girl anymore. ZIVA: Well, I'd say it backfired, large time. TONY: It's "big time." CUT TO: EXT. QUANTICO - DAY MCMANNIS: Get up! Let's go! Move! Come on. Show me what you're made of! Come on now. Just two more! HANNAH: I can't do it anymore! MCMANNIS: What did I tell you about the word "can't," Bressling?! NATALIE: Taylor's the only one who took any of this Marine stuff seriously. But you knew that, right, Sarge? CRAWLEY: Get the cameras out of here. CAMERAMAN: Yes, sir. CRAWLEY: Was he here? Answer me, Hannah. MCMANNIS: You're hurting her arm, sir. CRAWLEY: My daughter's dad, Staff Sergeant. If she's responsible, I'll do more than that. TONY: Hey, no one's doing anything around here but calming down. ZIVA: Who is "he"? CRAWLEY: Noah Keller, Taylor's ex. ZIVA: Noah Keller, he was here? HANNAH: A couple of days ago. Big deal. CRAWLEY: Did you know this? MCMANNIS: No, sir. TONY: Staff Sergeant, can you take Mr. Crawley for a walk? We need to talk to the girls alone. MCMANNIS: You need to let NCIS handle it. CRAWLEY: I'll talk to you when they're done. HANNAH: We'll be here, Tom. We don't wrap for another three days. Is that Berry Mango Madness? ZIVA: Yes. HANNAH: We haven't had anything but Marine food since we got here. I'll give you a hundred bucks for it. ZIVA: It's not for sale. TONY: It's free. Just like love. You know, I'm a big fan of the show. You guys are really beautiful and great and the show is excellent. HANNAH: Thanks, cutie. ZIVA: Why didn't you tell me that Taylor's boyfriend had visited her? NATALIE: She made us promise not to say anything. TONY: Well, you know, she's dad, so I don't think she'll mind. HANNAH: You saw the way Tom reacted. He hates Noah. He blames him for Taylor's drug habit. ZIVA: Was she using while she was here? HANNAH: Considering we're in a Marine boot camp, no. None of us have used any drugs. NATALIE: Noah just came to talk to her. They were having some relationship problems. HANNAH: Taylor thought he was using again. NATALIE: What? TONY: It just makes sense. ZIVA: Someone gave her enough PCP to kll the three of you. CUT TO: INT. SQUAD ROOM - DAY MCGEE: When was the last time you heard from Mr. Keller? GIBBS: Hang up the phone, McGee. MCGEE: Boss, I'm on the phone with Noah Keller's accountant. GIBBS: He's at the Cranston Motel in Triangle, Virginia right outside the main gate at Quantico. MCGEE: How'd you track him down? GIBBS: I got an urgent call from the President. His AMEX records were in the fax machine, McGee. Come on. MCGEE: I specifically told her to e-mail those. CUT TO: EXT. HOTEL - DAY MCGEE: Millions of dollars, supermodel girlfriend, this is where he stays? GIBBS: Well, he showed up in style. MCGEE: I think I would have rather slept in the car. GIBBS: That one. (ON THE PHONE) Yeah, Gibbs? TONY: (ON THE PHONE) Boss, Noah Keller was in Quantico the day before Taylor Shane died. GIBBS: Yeah, I see him now, DiNozzo. Don't bother, McGee. FADE IN: INT. HOTEL'S ROOM - DAY DUCKY: A young person's death is never easy, McGee, but two in 24 hours, and both self-afflicted, well, that's... tragic. GIBBS: He got off easy, Duck drugs he gave his girlfriend had her thrashing herself to death in a barbed-wire fence. MCGEE: These people can have everything, and this is how they end up? DUCKY: Well, wealth and fame have often gone hand in hand with fatal addiction. Edgar Allan Poe, Keith Moon. PALMER: Kurt Cobain. DUCKY: Yeah, the list goes on and on. This one's been dad about 24 hours, Jethro. GIBBS: Yeah, well, that means he offed himself the same night his girlfriend O.D.'d. DUCKY: Well, the froth around the mouth suggests a breakdown of the nervous system. GIBBS: PCP? DUCKY: Yeah, possible, but not probable. Look. Pinpoint pupils, blue discoloration around the fingernails. No, I'd say his death was the result of diacetylmorphine. GIBBS: Heroin. DUCKY: Yeah. GIBBS: I would say you're right, Ducky. That a su1c1de note? MCGEE: Not exactly. CUT TO: INT. SHEPARD'S OFFICE SHEPARD: "It's time for us to realize that this just isn't meant to be. Please know that it was never my intention to hurt you. I will always remember the great times we've had." This is a Dear John letter. GIBBS: Postmarked six days ago from Quantico Post Office. Handwriting checks out. SHEPARD: Taylor Shane sent it. GIBBS: Yeah. Noah Keller came by to chat about it. SHEPARD: Very Romeo and Juliet. GIBBS: Yeah, except for the part where he feeds her a toxic Klowny Kake and offs himself. SHEPARD: This must have been a very difficult letter for her to write. GIBBS: Probably harder for him to read. No one likes getting dumped by postal express. SHEPARD: Maybe he didn't listen. Relationships change. Some people don't know when to let go. I have to brief the C.G. of Quantico first thing in the morning on this, and I'd like you to be there when I do that. GIBBS: Negative, Jen all we have is circumstantial evidence so far. We don't even have anything to tie the two deaths together yet. SHEPARD: Well, I can't call the general and tell him we have nothing. GIBBS: You can always write him a letter. CUT TO: INT. LAB - DAY TONY: Abby? Abs? ABBY: Ta-da! They're for you. TONY: Wow. They're really black. Really, really... black. ABBY: It's pretty cool, huh? TONY: Yeah. "Get well Soon"? ABBY: They didn't have a card that said... "Sorry I almost sent you to prison" at the flower shop. TONY: "Almost"? You actually did send me to prison. ABBY: Well, not for good. TONY: Abby... I don't know what to say, Abby. These... ABBY: Just say that you don't hate me. TONY: I could never hate you. I don't think anyone could ever hate you. ABBY: Oh, you don't know Billy Bob. TONY: You... gave him black roses? ABBY: No. I gave him two black eyes. He tried to run over me with a Harley Fatboy when I was sleeping in the living room. TONY: A guy rode a motorcycle through your living room? ABBY: Yeah. No. Well, it was his living room, my Harley. Billy Bob had, um, intimacy issues. Don't forget to water them, or they'll die. TONY: I thought they already were dad. CUT TO: INT. AUTOPSY PALMER: "Laugh now, cry later." DUCKY: It's an interesting concept, Mr. Palmer. Unfortunately for our guest here, the laughter has ended. PALMER: My friend who went to NYU said is guy was the club king of New York. He was almost legendary. DUCKY: Well, if he wasn't before, he most certainly is now. PALMER: And apparently, he only went out with models and A-list celebrities. This guy got the VIP treatment everywhere he went. GIBBS: You writing a gossip column, Palmer? PALMER: I-I was just informing Dr. Mallard that he... that he... that he... We... I... GIBBS: Talk to me, Duck. DUCKY: Our initial assumptions were far from correct. When I examined him just now, I found fresh bruises on his upper back, the left shoulder. The X rays indicated a severe fracture of the left scapula and a clavicle that was almost completely crushed. GIBBS: He was in a fight? DUCKY: Yeah. Well, injuries of that nature, his left arm would be completely useless. GIBBS: Someone else sht him up. DUCKY: Well, Abby's tox screen showed that Mr. Keller had a blood-alcohol level of .34. His heart was pumping so slowly that most of the heroin was never even metabolized. GIBBS: He was passed out. DUCKY: Yes. I'm afraid our young man was unconscious when the drug was administered. CUT TO: INT. SQUAD ROOM - DAY ZIVA: From Abby? TONY: I thought this show was just mindless entertainment. ZIVA: It's called research, Tony. And I'm merely looking for a lead. TONY: Well, this is only the beginning. Before you know it, you'll be sitting at home eating a large box of chocolates, watching the Food Network on your 50-inch plasma. ZIVA: We're not all so easily corrupted. Take McGee, for example. He's been raised in America his entire life, and he rarely turns the television on. Tell him, McGee. TONY: Yeah, tell him, McGee. MCGEE: W-Well, uh... depends what you consider "rarely." I might watch 20 minutes here or there. TONY: Tell her what you do the rest of the time, Probie. MCGEE: It's not TV. TONY: He pretends to be a fairy in an online computer game. MCGEE: It's an elf lord. TONY: Whatever. GIBBS: Keller didn't commit su1c1de, he was mrder. What the hell are you two doing? Find out why. TONY: Hey, uh, I got to call you back. MCGEE: Boss, I think I might have something. GIBBS: Are you waiting for me to guess... elf lord? (TONY LAUGHS) MCGEE: No. Sorry. Um, I was searching through Noah Keller's cell phone records. The night that he died, he received three calls. Two were from his business manager, the other was from Hannah Bressling. CUT TO: INT. DORMITORY HANNAH: I've known Noah since high school. We used to sneak into the Limelight, like, every weekend. MCGEE: Limelight-- that's, uh, that club in Chelsea. HANNAH: Yeah. You been? MCGEE: Actually, no, I, uh... I saw it on Wild On. Sounded like it was a pretty exclusive place. HANNAH: Even as a kid, Noah seemed to know all the right people. I don't think he waited in line his entire life. TONY: Money tends to open doors. HANNAH: Oh, he didn't use his dad's money as a crutch. MCGEE: Really? HANNAH: Yeah, everyone always assumed that he was popular only because he was rich and... that was the reason he dated models. TONY: I'm sure it didn't hurt. HANNAH: No, women liked Noah 'cause he was charismatic and interesting. I mean, most guys that come from money are womanizers whose life revolves around their car. TONY: Were you and Noah ever an item? HANNAH: We dated on and off for a couple of years, but... we sort of lost touch when he hooked up with Taylor. MCGEE: When did he get involved with drugs? HANNAH: People say he got her started, but it's not true. They both made that leap together. TONY: Did you speak to him when he came to see Taylor? HANNAH: No. He was, um, drunk and really upset. But I called him later that night just to make sure that he was safe. I just can't imagine why anyone would have wanted to hurt him. CUT TO: INT. SQUAD ROOM - DAY GIBBS: What are you doing? SHEPARD: I just stopped by to drop you something off, Jethro. GIBBS: Looked to me like you were playing agent. SHEPARD: I left you four messages today. GIBBS: Really? I only got three. SHEPARD: Noah Keller's death was mrder, not su1c1de. That's something I should probably know. GIBBS: It sounds like you do. SHEPARD: This case is getting more attention by the hour. I trust... that you will keep me informed. GIBBS: Trust is a two-way street. SHEPARD: What are you saying, Jethro, you don't trust me? GIBBS: Of course I trust you. Is that all? SHEPARD: For now. ZIVA: I can save you the trouble. On today's Channel Six News, per Director Shepard's demand, Cynthia Sanchez issued a retraction on Monday's story. She was also forced to issue a public apology to one Leroy Jethro Gibbs. Our director has friends in high places, yes? GIBBS: Something I can do for you, Officer David? ZIVA: Abby needs to see you. Said she found something. CUT TO: INT. LAB - DAY ABBY: I looked through all the Boot Camp Babes footage from the night Taylor Shane died. ZIVA: She was nowhere to be seen. She knew where the cameras were placed. Also knew how to avoid them. ABBY: Not all of them. A few minutes ago, I found this. It's from a Quantico security camera that was placed on top of the mess hall. This video was taken about two hours before Taylor Shane died. ZIVA: I presume not many people stroll around Quantico at 1: 00 a.m. GIBBS: Can you zoom in, Abs? ABBY: My new enhancer program is booting up as we speak. I've been waiting for the chance to bust out this bad boy. This should clear it up a bit. ZIVA: Taylor was with Staff Sergeant McMannis? FADE IN: INT. OBSERVATION ROOM ZIVA: When's Gibbs planning on starting? TONY: This is one of his techniques. ZIVA: Really? TONY: Leaves the guy alone in a cold, dimly lit room. And then, just as the guy starts to zone out, bursts in the door and rfles off some questions. I call it "rock the baby." ZIVA: I see. And does it work? TONY: Oh, just watch. In a few moments, that door's going to fly open and this big, bad Marine is going to jump like a little girl. GIBBS: What the hell's with you, DiNozzo? TONY: Nothing. Uh... I was just telling Ziva about your interrogation techniques. GIBBS: I'm not interrogating McMannis. You are. TONY: Ooh, thanks, boss. You know, I could've used a little more prep time... GIBBS: I'm not talking to you, DiNozzo. He is all yours, Officer David. ZIVA: You are aware that I've never performed an interrogation without inflicting some sort of pain. CUT TO: INT. INTERROGATION ROOM ZIVA: This footage was pulled from a Quantico security camera. It was taken at 0117 the morning Taylor Shane was mrder. CUT TO: INT. OBSERVATION ROOM TONY: It's an interesting technique. GIBBS: She doesn't want to tempt herself. CUT TO: INT. INTERROGATION ROOM ZIVA: Tell me what you know, Staff Sergeant. MCMANNIS: Okay if I dip, ma'am? I promised Taylor I'd quit. We're both addicted to nicotine. ZIVA: A supermodel who spits tobacco? MCMANNIS: She smoked, but it's against the rules at boot camp. ZIVA: So you supplied her with your snuff there? MCMANNIS: Yes, ma'am. ZIVA: And junk food? MCMANNIS: Sometimes. ZIVA: And the midnight walks? You did that with every girl, Staff Sergeant? MCMANNIS: No, just Taylor; we didn't want anybody to find out about us until the show ended. ZIVA: Find out what? MCMANNIS: That we were in love, ma'am. CUT TO: INT. OBSERVATION ROOM TONY: This is the worst defense imaginable. The idea of a supermodel falling in love with a guy like this. GIBBS: Okay, why is that? TONY: Well, it's absolutely ridiculous, you know? Supermodels date guys like George Clooney, or guys with George Clooney's bank account or, of course, the actual George Clooney, but not guys like this. They don't date guys like this. Definitely not guys like this. GIBBS: Meaning, Marines, DiNozzo? TONY: No, I didn't say that. I mean, I would never say that. He thought I meant Marines. GIBBS: Yeah. Gibbs. ABBY (ON THE PHONE): I got something for you. GIBBS: (ON THE PHONE) I'll be right there. (TO TONY) Abby's got something. TONY: Hey, you were a lot of help. CUT TO: INT. INTERROGATION ROOM MCMANNIS: Taylor was nohing like her reputation. She was, she was... normal, like a regular girl. I know it sounds weird, ma'am, but I fell in love with her the moment I met her. ZIVA: And she felt the same way? MCMANNIS: We were going to get married once the show ended. She was done with modeling. She... she was sick of the whole lifestyle. ZIVA: And the reason you failed to mention you were with her a few hours before she died? MCMANNIS: Who'd have believe me, ma'am? Hell, it was my life. I barely believe it myself. ZIVA: I believe you. MCMANNIS: You do? So I'm free to go? ZIVA: No. I think we will charge you with mrder instead. MCMANNIS: But you just... you said you believed me, ma'am. I would never, ever have done anything to hurt her. ZIVA: What about the man who supplied Taylor with the drugs that klled her? Noah Keller? MCMANNIS: Uh... ZIVA: Answer the question, Staff Sergeant. MCMANNIS: I'm not feeling too well, ma'am. CUT TO: INT. LAB - DAY ABBY: This is the final wardrobe of Taylor Shane. MCGEE: Could not imagine a worse way to go. ABBY: I could. MCGEE: She planted herself on a barbed-wire fence. What could possibly be worse? ABBY: My top three are falling into a wood chipper, drowning in lava, and being eaten by a shark. MCGEE: Guessing you've thought about this before. ABBY: On and off for the last 25 years. MCGEE: You know, I read a statistic that says you're more likely to be struck by lightning than attcked by a shark. ABBY: Not if you're a seal. GIBBS: What do we have, Abs? ABBY: I broke down the origin of each and every stain on Taylor's clothes. Most are blood, mud, rust, and sweat. GIBBS: Most? ABBY: Yes. This stain here, under the collar, has traces of PCP mixed with formaldehyde, sodium and nicotine. GIBBS: Tobacco. ABBY: Yep. The PCP wasn't laced in the Klowny Cake. It was laced in this. CUT TO: INT. INTERROGATION ROOM ZIVA: Are you sure you don't want some more water, Staff Sergeant? MCMANNIS: I... I have to leave here now! ZIVA: Sit down, Staff Sergeant. MCMANNIS: What are you doing to me?! TONY: I believe Officer David asked you to sit down. MCMANNIS: You did this to me! You're trying to destroy me! TONY: The guy just went crazy, boss. GIBBS: He's ODing on PCP. Get a medical team in here, DiNozzo. Where'd you get the chew, Sergeant? Sergeant! MCMANNIS: From the show. What's happening to me, sir? GIBBS: You've been drugged. ZIVA: But you'll be alright now. Hush. CUT TO: INT. LAB - DAY ABBY: This is what I would call some serious snuff. The Staff Sergeant's chew was laced with 400 milligrams of PCP. A typical ht for a user would be between seven and ten milligrams. TONY: I knew that dude could've have taken me if he wasn't juiced. ZIVA: What are his chances, Abby? ABBY: Depends on how much PCP he ingested. How long was he dipping? That long, huh? Let's just hope he has better luck than Taylor Shane. MCGEE: Okay, great. Thank you. Staff Sergeant McMannis is sab at Bethesda. Still in critical condition. GIBBS: Any prints? ABBY: I was able to lift two latent prints. One matches Staff Sergeant McMannis.... GIBBS: And the other? ABBY: No owner yet. But it does match a print lifted from Noah Keller's syringe. ZIVA: Whoever klled Taylor, klled Keller. CUT TO: INT. DORMITORY HANNAH: What's that for? TONY: It's a fingerprint kit. NATALIE: Why? GIBBS: Someone tried to kll Staff Sergeant McMannis today. ZIVA: His chewing tobacco was laced with PCP. Whoever did it left a print on the can. GIBBS: The same person who mrder Taylor Shane and Noah Keller. NATALIE: Whoa. You think it was one of us? ZIVA: Oh, we know it was one of you. CRAWLEY: You were always jealous of her, Hannah. You're also the one who introduced her to Keller. HANNAH: Me, jealous of a crackhead? Please, Tom, you're stretching it a bit. NATALIE: But why would we? That doesn't make any sense. ZIVA: Taylor Shane was in love with the staff sergeant. HANNAH: Yeah, right. You've got to be joking. ZIVA: No, we're not. HANNAH: Well, then fingerprint away, sweetheart. It wasn't me. GIBBS: We don't need it. They're already on your arrest record. ZIVA: From the time you bat up your assistant with a cell phone, I believe? NATALIE: Well, it wasn't me. GIBBS: Nope. We've got yours, too. TONY: Yeah. Remember that time you drove your SUV through the front of Limelight? CRAWLEY: Whoa. What is this? I-I loved Taylor. Wait a minute. I'm not giving you permission to take my fingerprints. I want to talk to my lawyer first. GIBBS: We don't need anybody's permission. You're under arrest for mrder. ZIVA: You didn't want Taylor to give up her career to marry a Marine, but you couldn't stop her. TONY: Too bad she was addicted to nicotine, too. NATALIE: You klled your own daughter? CRAWLEY: It was an accident! What was I supposed to do? She was going to throw her life away. Be some... Be some jarhead's housewife! HANNAH: Thanks, Tom. ZIVA: What's so funny, honey? HANNAH: The ratings on this one will really be through the roof. TONY: Ziva, no, no, no, no. ZIVA: You really find her attractive? TONY: Oh, yeah. ZIVA: Well, I want to sh*t her. CUT TO: INT. SQUAD ROOM - DAY MCGEE: Tony, it's a matter of opinion. How can I be wrong? TONY: Exactly. It's a matter of you having the wrong opinion. ZIVA: Why don't you two just agree to disagree? MCGEE: I don't agree to that. TONY: Boss, the director's new hair, you like the way she cut it short? GIBBS: She cut her hair? TONY: Never mind. I don't suppose you want this. I'll get rid of it. GIBBS: Go home, DiNozzo. It's late. TONY: Yeah, I'm just finishing up a couple things. GIBBS: Your flowers are dad.	{"type": "series", "show": "NCIS", "episode": "03x11 - Model Behavior"}	foreverdreaming
MUSIC IN: EXT. PORT AUTHORITY - DAY TONY: Ah, you should have been there last night, you would have loved it. Two wrriors squaring off in the ring. ZIVA: I had plans with McGee. TONY: Mud glistening off their thongs. Wait, back up a second. You were with McGeek? ZIVA: No. He was with me. I was making him dinner. TONY: Why would you make McGee dinner? ZIVA: I like to cook. TONY: You cook? ZIVA: Jimmy seemed to like it. TONY: Palmer?! I've never even been to your place and you're cooking dinner for McGee and the autopsy gremlin? At what point did the Earth come off its axis? ZIVA: Perhaps now, Tony. What's wrong with that picture? TONY: Containers aren't unloaded at the dock. (MUSIC OVER ACTION) TONY: Clear! Custom seal's been broken. ZIVA: (SHOUTS) Tony!(MUSIC OVER ACTION) (SFX: RAPID GNFRE) TONY: Get inside! (SFX: VOICES SHOUT B.G.) (SFX: TRUCK STARTS B.G.) (DOOR CLOSES) ZIVA: I think we've just been screwed in here, Tony. TONY: The term is bolted. ZIVA: Same difference. (FADE OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: EXT. PORT AUTHORITY - DAY "BOXED IN" TONY: (V.O.) I tried that. It's bolted from the outside. CUT TO: INT. CONTAINER - DAY ZIVA: I knew your idea was stupid.(SFX: TONY AND ZIVA KICK THE WALLS) TONY: My idea? ZIVA: Yes. Taking up a defensive position inside a metal box! Yes! TONY: You're not panicking on me, are you? ZIVA: I don't panic! This is me... mad! TONY: I'm not getting any reception. How about you?(TELEPHONE FX) ZIVA: I'm braless. TONY: I noticed that earlier. But on your phone they're bars. ZIVA: Don't you have anything better to do than correct my English? TONY: Like what? ZIVA: Like getting us out of this box you trapped us in. TONY: Okay, first of all, this is not my fault. Second of all, I like dark, tight spaces. ZIVA: Unless, of course, they insist on some form of commitment. TONY: I was referring to my childhood bedroom. ZIVA: Hmm. TONY: Hmm. It looks like our smugglers have removed most of the cargo. So they're probably not coming back. ZIVA: We're still locked in a box and freezing to dath. TONY: Somebody might have heard the gnfre. ZIVA: Yeah, well if they did, they'd be here by now. TONY: Ooh, you know what we could do? fre a couple of runds out of these ventilation shafts. Maybe someone will hear us. ZIVA: Oh, yeah. Maybe they didn't hear the massive frefight. So let's just waste the little ammniton we have. You know what? You're brilliant. Genius! TONY: Sarcasm is the refuge of a shallow mind. What do you suggest we do? ZIVA: I suggest we bust out of here now. TONY: Okay, Bugsy, I'll take care of the security guard and I'll go through the front gate. ZIVA: (SHOUTS OVER) Tony, this is not funny! It's not funny! TONY: I know! TONY: What we need to do is relax and remain calm and wait. ZIVA: For what? For them to come in with reinforcements? TONY: For Gibbs. Trust me. He'll find us. ZIVA: (SIGHS) I believe you. The question is, will it be before we freeze to dath? CUT TO: INT. MTAC ROOM - DAY SURVOY: (ON MONITOR) Our intel was wrong, Gibbs. The container isn't filled with small ams. It's a shipment of explsives. GIBBS: C-four? SURVOY: (ON MONITOR) Worse. Unexploded K-M-G-U cluster bmb. GIBBS: From where? SURVOY: (ON MONITOR) Iraq. Al Qaeda pays kids fifty cents a day to collect the bmb. Most of them end up dad, the lucky ones crippled. These bmb are... GIBBS: Highly unstable. Yeah. I'd say that's worse. SURVOY: (ON MONITOR) French intelligence out of Dakar believes they may have been loaded onto a Senegalese ship last week. GIBBS: Last week?! Why are we just hearing about this today? SURVOY: (ON MONITOR) Have you ever worked with the French, Gibbs? (INTERCUT FLASHBACK SCENE) GIBBS: Yeah, a few times. SURVOY: (ON MONITOR) Then you know what I'm up against. GIBBS: I've got two agents down at the docks. I need more than "they may have been loaded on a Senegalese ship", Tom. SURVOY: (ON MONITOR) We're working on it, Jethro. Just tell your people to be careful. GIBBS: (TO MCGEE) Where are they now, McGee? MCGEE: Tony said that they were relocating. GIBBS: Why? MCGEE: Said that they had new intel. GIBBS: Are you waiting for me to say please? MCGEE: I couldn't make it out. The phone reception was already hinky before I lost them. GIBBS: Well un-lose them! I don't want them touching anything without a bmb squad present! CUT TO: INT. CONTAINER - DAY TONY: Pinch me now! Another crate of movies! Look at them all! Maybe there's a crate full of DVD players in here. ZIVA: Ooh, let's not forget the battery operated generators and the pop corn machines! TONY: I'm open to all things cinema. ZIVA: Huh. They're East Indian. Bollywood. No subtitles. TONY: It's low on the list of genres, I know. But extremely babe-heavy. Where are the small ams? I mean, why would they sh*t at us over copies of "Kuch Kuch Hota Hai?" ZIVA: Does it matter? We need to get out of here, Tony. TONY: Yeah, I heard that the first fifty times you said it. Hey, you're not claustrophobic, are you? ZIVA: No! TONY: Because I'm telling you, that would be another nail in the shoe of my day. ZIVA: What if we blow a hole at the bottom of this door, near where the bolt is? TONY: Porquoi? ZIVA: It might enable us to jam something under it and force it open. TONY: Not liking it. fring a bllet in the air... it's bound to ricochet... (SFX: bllet freS/RICOCHETS AROUND THE CONTAINER) TONY: Ha! As I was saying, there's a good chance the bllet might ricochet and kll one of us! ZIVA: Sorry. TONY: Why are you on top of me? ZIVA: I'm protecting you, Tony. TONY: Don't. ZIVA: Well you didn't seem to mind when we were undercover. TONY: That might have something to do with the fact that you were naked. ZIVA: Perhaps if it were wrmer in here. Hm? TONY: Let me rephrase the question. Why are you still on top of me? CUT TO: INT. SQUAD ROOM - DAY MCGEE: Our last contact with them was here, the North Expansion. They were checking out a West African cargo chip that pulled in two days ago. GIBBS: What about the GPS stuff in their phones? MCGEE: Well, see, that's the strange thing. Their cell phone reception is bad around the docks, but their GPS chip should not be effected. They run on a separate satellite networks, and we should be able to pick them up anyway. GIBBS: Should, McGee? MCGEE: For some reason we can't. Um... phones. Phones could be turned off. Chips could be disabled. They could be in a structure that is blocking the GPS signal. GIBBS: Like the hold of a ship?! MCGEE: Uh, possibly. You know, I'm thinking that they might be waiting to get into a better cell reception area before calling in. GIBBS: Maybe doesn't cut it, McGee. You should have let me know. MCGEE: I know. Uh... see, the thing is you were busy, Boss. You were in the restroom. GIBBS: Have you ever had a conversation in the head, McGee? MCGEE: One time I did. The person that I was talking to - they were so distracted - my shoes, they kind of got.... Sorry, I should have... should have let you know. GIBBS: Don't apologize. It's a sign of weakness. Let's find them before DiNozzo blows both his ams off. CUT TO: INT. CONTAINER - DAY (SFX: TONY TURNS THE CRATE OVER) TONY: This doesn't make any sense. ZIVA: Maybe this isn't the container they used to smuggle their wapon. TONY: This is the only container that wasn't sealed. The rest of them are closed. ZIVA: They off-loaded them already? TONY: That might explain how they got atmatic wapon. We're missing something. ZIVA: Besides wrmth? TONY: Ziva David, does this space seem different to you? ZIVA: Define different. TONY: Does it seem smaller than the outside dimension? Usually containers are forty feet long. This one's only thirty four on the inside. Somebody's been doing renovations. ZIVA: Plywood.(SFX: (KNOCK ON WOOD) (SFX: WOOD BREAKING) ZIVA: Not bad. I can almost forgive you now. TONY: For what? ZIVA: For locking us in this box. TONY: Lades first. CUT TO: INT. CONCEALED COMPARTMENT - DAY TONY: (V.O.) What do you see? ZIVA: Trouble. Arabic script. TONY: What does that say? ZIVA: This end up. Handle with care. Caution: explsive ordnance. TONY: A bmb? ZIVA: I think so, yes. TONY: And uh... what does this say exactly? ZIVA: dath to America. TONY: Ah great. Are you thinking what I'm thinking? ZIVA: Perhaps if it involves a violent and painful dath. (MUSIC OUT) MUSIC IN: INT. CONCEALED COMPARTMENT - DAY TONY: Ah! ZIVA: Careful. This may be booby-trapped a dozen different ways. TONY: So why are we opening it again? ZIVA: Because if it is a bmb, it may be armed. TONY: Hey listen, if this thing goes off, I just want you to know... ZIVA: This is not your fault. I know. TONY: Uh, no. I was going to say your life would have had more meaning if you'd slept with me. ZIVA: If you had anything else on your mind, perhaps I would have. TONY: Really? ZIVA: Um, no. Ready? TONY: Hold on. (MUSIC OVER ACTION) TONY: All right. Up a... up an inch. ZIVA: No visible wires. Proceed. Oh my god! TONY: Well, I didn't expect to see that. CUT TO: INT. CONTAINER - DAY TONY: There's got to be millions in here. More than enough to bankroll one hell of a trror1st op. These DVDs were just decoys to get through Customs. I'll tell you what. When we get out of here, I'm going to buy you a house. But it's going to have to be a fake house because these are counterfeit. ZIVA: How can you tell? TONY: The Treasury ran a workshop with us. First, they're freshly printed. ZIVA: Your Treasury prints millions everyday. TONY: So do countries like Syria and North Korea. The hundred dollar bill hasn't been redesigned since ninety-six which makes it very vulnerable to this kind of counterfeit. ZIVA: Still that doesn't explain how you know they're fake. TONY: The ink. It smells. ZIVA: Yes, like ink. TONY: Well, our money doesn't smell. Here. Try it. Give it a little sniff. ZIVA: Ooh, god! That smells like stale alcohol and... your armpit. TONY: Yeah, the point is, it doesn't smell like ink. Now, there's only one way to know for sure. If it burns orange, it's real. ZIVA: Impressive, but irrelevant. Real or not, our friends are coming back for it. TONY: They may already be here. CUT TO: INT. SECURITY OFFICE - DAY LAKE: Your people checked in with me at seven oh six. DiNozzo and David, right? They were surveilling containers for illegal contraband from West Africa. GIBBS: That's them. LAKE: Well, they're staked out by the dock on the North Expansion. GIBBS: Not anymore. MCGEE: They changed their post. LAKE: See, now this is... I've got to tell you something. I made it very clear to them that any change of plans goes through this office. Where are they now? GIBBS: Well, that would be the purpose of this visit, Mister Lake. We lost contact. LAKE: So for all we know they're out there wandering around somewhere lost. GIBBS: My people don't get lost! LAKE: Agent Gibbs, this is one of the largest ports on the East Coast. Believe me, it happens all the time. Matthew? MATTHEW: Sir? LAKE: Do me a favor. We've got two missing Feds. Take a team and sweep the sectors by the North Expansion. Call me when you find them. MATTHEW: You got it. LAKE: You're welcome to wait here while we locate them. MCGEE: Mister Lake, it would be helpful if we could review the security camera footage. LAKE: Yeah, sure. I'll have one of my tecs work on it. Hey, what kind of contraband were they looking for? GIBBS: ams shipment. explsives. LAKE: What ship? We're going to have to lock it down, and search it container by container. MCGEE: Our intel indicates that it might be Senegalese. LAKE: Might be? Meaning you don't have any idea? GIBBS: No. Not yet. LAKE: Do you have any idea who busy we are here? Right now I've got three ships sailing under the Senegalese flag. Two more coming in on Thursday. Well how accurate is your intelligence? (bat) Do you guys know how many intel BOLOs I get in one week? And how many of them turn out to be false alams? I'm going to need more than chatter before you disrupt the port. GIBBS: Yeah? Well I need to find my people. (INTO PHONE) Abby? LAKE: Is he always like that? MCGEE: Yeah, pretty much. CUT TO: INT. CONTAINER - DAY TONY: (COUNTING) One million, eight hundred, twenty. One million... ZIVA: Counting your riches King Cole? TONY: Midas. King Cole had a merry old soul. That's one hundred twenty million... thanks. You made me lose count again. ZIVA: Good. Now you can put your soul to good use. TONY: Doing what? ZIVA: Helping me set up this defensive perimeter. TONY: Ah, actually I was wrming to your earlier idea of getting us out of here. If we burn these bills... ZIVA: We'll de of smoke inhalation, Tony. TONY: Oh, no no no no no. Look up. Heat rises, right? So the smoke is going to out through these ventilation slots and draw attention to our position. Not to mention the added benefit of heat production. ZIVA: Are you serious? TONY: Well, it makes more sense than fring a gn inside a metal box, now doesn't it? Don't worry about a thing. The worse thing that can happen is it gets a little smoky in here. It's kind of fun.(TONY BEGINS LIGHTING THE BILLS ON fre) ZIVA: Um... it's a little crazy, actually. TONY: Ha ha! Now that feels good. ZIVA: Okay, well, it's a little wrmer. TONY: Whoa! ZIVA: Whoa! Hey, that's a lot of fre!(F/X: BURNING ASHES BLOW AROUND THE CONTAINER INTERIOR) TONY: Here we go. Out the ventilation shaft. (SFX: ZIVA COUGHS B.G.) (SFX: TONY SHOUTS/FANS THE ASHES) TONY: It's okay. It's okay. CUT TO: INT. LAB - DAY ABBY: (INTO PHONE) I can barely hear you, Gibbs. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (V.O./FILTERED) Where are you? GIBBS: (INTO PHONE) Norfolk Port Authority. (SCENE CUT) GIBBS: (V.O./FILTERED) We're sending over a surveillance (STATIC) ABBY: (INTO PHONE) Surveillance what? (SCENE CUT) GIBBS: (INTO PHONE) Videos. I want you to look at this morning's recording (STATIC).... of the North Expan.... (SCENE CUT) GIBBS: (V.O./FILTERED) ... and three. ABBY: (INTO PHONE) For what, exactly? (SCENE CUT) GIBBS: (INTO PHONE) Anything of Tony and Ziva. (SCENE CUT) ABBY: (INTO PHONE) Tony and Ziva aren't here, Gibbs. (SCENE CUT) GIBBS: (INTO PHONE) I know that, Abby! (SCENE CUT) GIBBS: (V.O./FILTERED) We're looking for them! ABBY: (INTO PHONE) Are they missing? (SCENE CUT) (GIBBS DIALS THE PHONE) (SFX: DIAL TONE) (SCENE CUT) ABBY: (INTO PHONE) Hold on, okay? I've got another call coming in. Abby Sciuto, NCIS. (SCENE CUT) GIBBS: (INTO PHONE) Find Tony and Ziva, Abs! The videos are on their way... (SCENE CUT) GIBBS: (V.O./FILTERED) ... To you right now. ABBY: (INTO PHONE) Can I talk to McGee? (SCENE CUT) MCGEE: (INTO PHONE) Why? ABBY: (V.O./FILTERED) Because... (SCENE CUT) ABBY: (INTO PHONE) I need to know what codec they use for... (SCENE CUT) ABBY: (V.O./FILTERED) .... Encoding their video. (SFX: GIBBS BANGS THE RECEIVER ON THE DESK) MCGEE: (INTO PHONE) Hello? ABBY: (V.O./FILTERED) What happened... (SCENE CUT) ABBY: (INTO PHONE) ... To Tony and Ziva? MCGEE: (V.O./FILTERED) Ah... (SCENE CUT) MCGEE: (INTO PHONE) Abby, it's not a really good time right now. (SCENE CUT) ABBY: (INTO PHONE) You'd better call me... (SCENE CUT) ABBY: (V.O./FILTERED) As soon as you're Gibbs-free, McGee! (SCENE CUT) MCGEE: (V.O./FILTERED) I will. I will. ABBY: (INTO PHONE) Promise me! (SCENE CUT) MCGEE: (INTO PHONE) Abby, I promise! Okay? (END TELEPHONE INTERCUTS) LAKE: Okay, transfer is complete. Copy of all of our security footage since the time that your agents arrived. GIBBS: Where are those Senegalese ships docked? LAKE: Piers Five Alpha, Three Tango, and Six Delta. GIBBS: I want to see them. MCGEE: I think that means we go with him. CUT TO: INT. CONTAINER - DAY (SFX: ZIVA COUGHS B.G.) ZIVA: Definitely your worst idea yet. TONY: No, my worst idea was challenging a date to an oyster eating contest. ZIVA: The air in here is like soup. Do you want to give me a hand with this, please?! TONY: Sure. So riddle me this, Bat girl. How does one wrangle an invite to dinner at your place? ZIVA: Why? You feel a little left out, Tony? TONY: I mean, McGee I can understand. He's a good guest. I'll bet he brought a bottle of wine. ZIVA: And dessert. TONY: Yeah, big surprise there. But Palmer.... I've had more stimulating conversations with cats. ZIVA: I like him. And he was very helpful to me. TONY: How? ZIVA: He tuned my piano. TONY: I used to play piano. ZIVA: But not anymore? TONY: My mother forced me to take lessons from this woman who used to ht me with a ruler every time I made a mistake. I haven't played since. ZIVA: Were you any good? TONY: Yeah, I actually was. CUT TO: INT. LAB - DAY DUCKY: I need you to re-sample the histo-pathology for me. Is something wrong? ABBY: Why does he do that, Ducky? DUCKY: Who? ABBY: Gibbs. Why does he withhold? He wants me to check the Northfolk Terminal Security video for Tony and Ziva. DUCKY: Oh, it's probably nothing. ABBY: Oh, no. It's something. Gibbs can smell the rotten cabbage in the middle of the pile. DUCKY: Do you think Tony and Ziva are in trouble? ABBY: I'm thinking that's what Gibbs is thinking. DUCKY: Then we do have cause for concern. CUT TO: INT. CONTAINER - DAY TONY: Very well done, darling. But where are we going to put the divan? Actually, you know, it looks pretty good. I particularly like your fring slots. ZIVA: Of course, against atmatic wapon it'll disintegrate in thirty seconds. TONY: Yeah. What is it about danger and uncertainty that makes me feel so.... ZIVA: Horny? TONY: Hungry. I'd kll for a pizza right now. What? ZIVA: You don't have to joke about it. It's all right to admit you're scared. TONY: You've obviously never seen a Steve McQueen movie. ZIVA: Why must you equate everything in life to your stupid movies? TONY: Now see, that's your problem. You have no fantasy life. ZIVA: Oh, you couldn't be more wrong! TONY: Yeah, really. Okay, well then, throw one out there. Let's hear a Ziva David fantasy. ZIVA: It concerns you. TONY: Ooh, I'm all ears. ZIVA: And a Sumo wrestler. TONY: You can stop there. ZIVA: You see, it's all about hot women and brave men to you. Anything deeper and you shut it down. TONY: That's not true. I like a lot of deep movies. Pick a genre, any genre. ZIVA: Okay, best dating movie. TONY: Night Of The Living dad. I'm kidding. Tom Jones. Eating as sex. ZIVA: Best sex movie. TONY: Body Heat. William Hurt, Kathleen Turner. Smart noir. I like the whole sweaty, chairs-through-glass-doors, thing. ZIVA: Yeah, I prefer the air conditioner on. And if anybody threw a chair through my door, I would probably sht them. TONY: Did you just reveal something about your sex life? ZIVA: Obliquely. TONY: I'm stunned because you never talk about yourself. Why is that? ZIVA: Maybe I like a little privacy. TONY: No, I understand. But we could de here. I mean, you know, we're in a cold metal box. So give me something. Happiest moment? Most embarrassing moment? First time you realized Daddy wasn't perfect. (LONG bat) Okay, I'll tell you mine. ZIVA: We're not sharing. (SFX: ITEMS FALL TO THE GROUND) (SFX: FORKLIFT B.G.) ZIVA: We're being lifted by a forklift. CUT TO: EXT. PORT AUTHORITY - DAY GIBBS: See if you can find their vehicle, McGee. MCGEE: On it. GIBBS: What time's that ship scheduled to get underway? LAKE: They're still off-loading, so some time tomorrow afternoon. MCGEE: (V.O.) Hey Boss, I found it! It's locked. GIBBS: Find them, McGee. Spread out! (TO LAKE) How many times do these containers come and go on a given day? LAKE: On this dock, thousands. GIBBS: You know what this is? LAKE: That's a bld trail. GIBBS: Do you still think this is just chatter, Lake? MCGEE: (V.O.) Boss? GIBBS: What do you got, McGee? (MUSIC OUT) MUSIC IN: EXT. PORT AUTHORITY - DAY MCGEE: Now this is where the bld trail stops, Boss. GIBBS: You mean starts. MCGEE: Ah, yes, that's what I mean. Now I've broken the area into four sections. Area One over here is where all the action seems to have been centered. We've recovered three different types of brass. It must have been one hell of a gn. GIBBS: Yeah, well I'll bet Tony and Ziva thought so, McGee. They were right here. MCGEE: Well, we recovered the other two types of brass from over there where the bl*d trail started. Back there. GIBBS: They were caught in a crossfre. MCGEE: Now look, Boss. Boss. You don't... you don't think they're... should we put divers in the water or...? GIBBS: They're not in the water. McGee, if they were in the water, they'd be dad, McGee. If they were dad, I'd know about it. They're not dad. LAKE: All right, my people have been rounding up dock workers. So far no one heard any gnfre. GIBBS: I want to find out if there were any other containers here. LAKE: Yeah, well we're compiling a manifest of every container off-loaded from the ship. If they've left the port we'll find them. GIBBS: If not? LAKE: Are you asking me to search every container still in port? GIBBS: No. I'm ordering you. Make it happen, McGee. (PASSAGE OF TIME) DUCKY: They sht him three times. GIBBS: At least they got one of them, Duck. DUCKY: Can I ask where they are? GIBBS: Not if you're expecting an answer. DUCKY: What does your gut tell you? GIBBS: Tell me about this guy. DUCKY: Twenty five to thirty five years old. Mortally wounded. He was able to run about fifty yards before a massive loss of bl*d brought him down. And someone dragged him in here. Foreign born. GIBBS: You got his I.D.? DUCKY: No, dental work. No caps or crowns. The work is primitive. And I thought England was bad. GIBBS: Third world? DUCKY: I should say so. Oh, something else you may be interested in. These hands are soft. No discernable callouses. GIBBS: He's not a dock worker. DUCKY: Well, I'll know more when I get him back. You'll find them, Jethro. GIBBS: Is that a question or statement, Duck? DUCKY: More of a prayer. CUT TO: INT. CONTAINER - DAY TONY: You know, under normal circumstances, this would be considered fun. ZIVA: Yeah, well I can't tell where we're going. TONY: Well, there's only three ways we're going to get there. Train... ZIVA: That's quaint. We'd be like the hm* in those old movies. TONY: Hobos, not hm. That would be my third choice. ZIVA: The ship? TONY: That's my second choice. ZIVA: Days without food or water. (SFX: TRUCK B.G.) ZIVA: Sounds like a truck.(SFX: VOICES B.G.) TONY: That's my first choice. (SHOUTS) Hey, let us out of here! (SFX: TONY KNOCKS ON THE SIDE OF THE CONTAINER) ZIVA: (QUIETLY) Stop it! Stop it! Stop it! Stop it! TONY: Okay. Maybe if I fred a sht out of here they'd know that we were in here. ZIVA: That's not a good idea. That's not a good idea. TONY: Okay. ZIVA: You're assuming whoever's driving doesn't know we're here. If they do, they can't leave the port with us aboard. They'll take us back inside and they'll deal with us first. TONY: Right. Right. Okay, I have a plan. We build a time machine. ZIVA: We could leave a trail? TONY: Sorry, Gretel, I left all my bread crumbs back at the office. ZIVA: Well then it's a good thing we've got all this dough. CUT TO: INT. LAB - DAY ABBY: I'm starting to get really freaked out here, Gibbs. I found Tony and Ziva....(BEGIN TELEPHONE INTERCUT) (SCENE CUT) ABBY: (V.O./FILTERED) .... On the Port video, but I don't think it's enough. GIBBS: It's all right, Abs. (SCENE CUT) ABBY: I just... I feel like I'm failing them and I... GIBBS: (V.O./FILTERED) Just take us through it. (SCENE CUT) GIBBS: Start with Pier Three. ABBY: (V.O./FILTERED) Okay. Are you getting this too, McGee? MCGEE: Yep. Transmission is good. (SCENE CUT) ABBY: All right. Their car .... (SCENE CUT) ABBY: (V.O./FILTERED) ...Pulled up at seven fifty seven. (SCENE CUT) ABBY: They got out, and then they leave two minutes and thirty two seconds later. GIBBS: (V.O./FILTERED) Anyone else... (SCENE CUT) GIBBS: ...In the car? (SCENE CUT) ABBY: No. GIBBS: (V.O./FILTERED) Take me to the other location, Abby. CUT TO: EXT. PORT AUTHORITY - DAY (SFX: FORK LIFT DRIVES PAST) (SFX: TRUCK HORN HONKS) CUT TO: INT. CONTAINER - DAY TONY: Okay, you stick with that. I'm going to see if the reception is any better. (SFX: TELEPHONE BEEP TONES) TONY: Nothing. What we need is a better antenna. I think a wire would work. Any kind of conductor, really. Hey, your necklace. We can attach it to the end of the antennae and slip it out of the slot. ZIVA: Cell phone antennas are vertical. The wire can't dangle. TONY: Well, we need to stiffen it, Ziva. ZIVA: I've heard that before. TONY: Work with me here. We can slice the spines off these DVDs and sandwich it in between. ZIVA: Oh! TONY: Are you okay? ZIVA: Yes. I still need something to reflect off. TONY: The side of the container. ZIVA: The angle needs to be precise, Tony. TONY: The response I'm looking for here is, "Cool Tony!" ZIVA: I'm saying it might work. TONY: When this is all over we're going to watch Kuch Kuch Hoda Kai. CUT TO: INT. LAB - NIGHT ABBY: ABBY: This is where it gets disturbing. (ON MONITOR) It's like looking at an Escher print. I was able to isolate (ON CAMERA) four segments. At eight sixteen I have them getting out of the North Expansion sector. Then at this point they walk out of frame. Another camera picked them up at (ON MONITOR) eight nineteen. (CONT. ON CAMERA) You see them here, (ON MONITOR) and then here. And they have their gn drawn. The problem is that there's another container blocking the camera. Now, look at the bottom left (ON CAMERA) corner of your screen. (SCENE CUT) MCGEE: Boss, that's our dad guy. ABBY: (ON MONITOR) I ran his photo... (SCENE CUT) ABBY: And I got a positive I.D., Gibbs. (ON MONITOR) Interpol identified him as Moussa (ON CAMERA) Senghor, a Senegalese (V.O./FILTERED) citizen. (SCENE CUT) ABBY: (V.O./FILTERED) He's on the International trror1st Watch list. MCGEE: Boss, Moussa Senghor has ties to Wilson N'Diaye. He's... GIBBS: Al Qaeda money man. Financed the attck on four Bali night clubs last year. It's a good job, Abby. ABBY: (V.O./FILTERED) The bad news is he wasn't alone. (SCENE CUT) ABBY: There's no I.D. on him yet. GIBBS: (V.O./FILTERED) What else you got, Abs? ABBY: (V.O.) Just this. (ON CAMERA) They sht the camera. (SCENE CUT) MCGEE: Abby, can you rewind it and pull... (SCENE CUT) MCGEE: (V.O./FILTERED) ... Back to the wide angle? Can you freeze it there? (SCENE CUT) MCGEE: Boss, I think I know what happened. These are the crime scene photos from the dock. And this is from the security camera taken earlier. The container by Ziva is missing. If they were in a crossfre... GIBBS: They took cover inside. Abby, put another ... (SCENE CUT) GIBBS: (V.O.) ...CAFF-POW on my tab. ABBY: Just one, Gibbs? (SCENE CUT) GIBBS: You haven't found them yet. (END TELEPHONE INTERCUTS) CUT TO: INT. CONTAINER - MOVING ZIVA: How's it coming? TONY: My fingers aren't working. ZIVA: Do you want me to do it? TONY: I've got it. Just give me one of your little hair squinchie things. ZIVA: The term is scrunchie. TONY: Thank you. Now I've just got to figure out how to attach this thing to the cell phone. ZIVA: We may not need to. We now have several hundred thousand dollars out there floating around. It's a matter of time before they find us. CUT TO: EXT. PORT AUTHORITY - NIGHT (MUSIC OVER ACTION/ MAN PICKS UP THE PAPER BILLS) CUT TO: INT. PORT AUTHORITY - NIGHT LAKE: (V.O.) The symbol's from the company that uses this type of container. I'll tell you, Gibbs, (ON CAMERA) the problem is without a tracking number, I can't tell you where the hell this one went. GIBBS: McGee. MCGEE: We've got six teams covering the gates out of the port. They're intercepting each container with those markings. GIBBS: What about the ones still in port? LAKE: Used by this same company? Um.... approximately eight hundred and sixty two. GIBBS: I only need one. LAKE: Well, they're spread out all over the complex. It would take days to search them all. GIBBS: We won't have to, Lake. How much does one of these things weigh? LAKE: I don't know. About five tons. GIBBS: I can't imagine they're easy to move. LAKE: Oh, of course not. There's only two ways. A crane or a top-loader forklift. MCGEE: Oh, there's no crane in range of the crime scene. LAKE: So it would have to be moved by a top-loader. And we only have ten of those with maybe twenty qualified operators to drive them. Kristen. KRISTEN: (V.O.) Sir? LAKE: Get me a list of all the top-loading forklifts that operated in the North East Expansion today. Plus I want names of all the drivers. KRISTEN: (V.O.) Right away, Sir. LAKE: If we find that forklift... MCGEE: We find who moved it. CUT TO: INT. CONTAINER - NIGHT (SFX: MAN'S VOICE B.G.) ZIVA: We're backing up. Almost done? TONY: I just got to figure out how to attach it. ZIVA: I may be able to help you with that. (bat) What? TONY: Friction burns? ZIVA: Yeah, what difference does it make? TONY: Ah, it doesn't. I'm just wondering how you get them. ZIVA: Well, if you live long enough, maybe I'll tell you some day. TONY: You know, I can only take it two ways. Were you and McGee and Palmer were playing Twister last night? ZIVA: What's a twister? TONY: Exactly. That means you were having-- ZIVA: Ooh! (SFX: VOICES SHOUT B.G.) ZIVA: If you're going to make that phone call, now is the right time to do it. (FADE OUT) MUSIC IN: INT. LAB - NIGHT ABBY: ABBY: The grooves match. All three runds that you pulled out of toothless downstairs came from Tony's wapon. And none of the bld samples taken from the dock match Tony or Ziva's bld type. I think they're going to be okay. Tony is only one of our very best agents and Ziva.... she's basically a trained kller, right? I mean, she could take care of herself. And I got a direct link to four different GPS satellites. Either of them get an area with reception again... bam! We've got them. I really don't think that there's any reason to worry, Ducky. (CONT.) They're going to be fine. I need you to tell me they're going to be okay. DUCKY: Of course they are. CUT TO: INT. SECURITY OFFICE - NIGHT GIBBS: I want every building swept room to room. Start with the vacant ones first. MCGEE: Cell reception's unreliable in the area so all movement will be coordinated by radio. Tactical frequency is two, Admin is four. GIBBS: Go! Go! Find them. LAKE: Hey, Gibbs, Gibbs. I only have two top-loaders working in the Northern Expansion today. One here in Pier Seven off-loading a ship, and the other one is at an axillarywrehouse. The drivers should still be with the rigs. I'll send some of my people-- GIBBS: We got it. Let's roll, McGee. CUT TO: INT. CONTAINER - NIGHT (SFX: VOICES B.G.) TONY: You understand that gibberish? ZIVA: A little. TONY: What's he saying? ZIVA: They're either discussing letting us go... or the best way to mrder us. It's a complicated language! TONY: Well, I'd go with number two. ZIVA: Me, too. Get any reception? TONY: Negative. I'm going to have to stick this antenna out one of the ventilation slots. WILSON: (V.O.) If you want to live, you come out of the container now! ZIVA: (SHOUTS) What was that?! Speak up! CUT TO: INT. wrEHOUSE - NIGHT WILSON: I said, come out now, woman! Come out now or we will come in! What is your answer!? CUT TO: INT. CONTAINER - NIGHT ZIVA: This.(SFX: gn) CUT TO: INT. wrEHOUSE - NIGHT (SFX: WILSON SHOUTS B.G.) WILSON: She sht me! She sht me! CUT TO: INT. CONTAINER - NIGHT ZIVA: Make your call. We only have a couple of minutes now. CUT TO: INT. CAR - MOVING MCGEE: Okay, I think we turn up here past this next row of wrehouses. GIBBS: You think, McGee? MCGEE: Well, Boss, maybe if you slowed down a little I'd-- (SFX: CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. TONY: (V.O./FILTERED) Boss, it's me! GIBBS: (INTO PHONE) Tony! TONY: (V.O./FILTERED) Yeah. (SFX: TIRES SCREECH) (BEGIN TELEPHONE INTERCUTS) TONY: (INTO PHONE) Boss, it's a long story, but the really short version is that we're trapped in a container with millions in phony U.S. bills in some port building. GIBBS: (V.O./FILTERED) You're coming in.... (SCENE CUT) GIBBS: (INTO PHONE) .... Broken, DiNozzo. Say again. TONY: (V.O./FILTERED) If you can hear me... (SCENE CUT) TONY: (INTO PHONE) .... We left a trail of money. (SCENE CUT) GIBBS: (INTO PHONE) Money? TONY: (V.O./FILTERED) Follow the money! (SCENE CUT) GIBBS: (V.O./FILTERED) ...Phone Abby... ZIVA: Tony, get down! They're coming again! (SCENE CUT) GIBBS: (INTO PHONE) DiNozzo! Keep the damn phone on! Abby will find you! TONY: (V.O./FILTERED/BROKEN) ...You can look for it, Boss. We're out of time. Hurry! We're low on amo... ZIVA: (V.O./FILTERED) Tony! GIBBS: Damn it!(END TELEPHONE INTERCUTS) GIBBS: See if you can get him back on that thing! CUT TO: INT. LAB - NIGHT ABBY: I knew it, Ducky! I knew they were alive. Huh. Okay. I just need a second and I'll be able - No! No! No! DUCKY: What's wrong? ABBY: I lost him again. DUCKY: But there they are. On the map. ABBY: No, that's just a general fix. Means they're somewhere within a five hundred meter radius. If I had one more second I could have-- DUCKY: Five hundred meters is better than we were a moment ago. You'd better tell Gibbs. CUT TO: INT. wrEHOUSE - NIGHT (SFX: DOOR CREAKS OPEN) (MUSIC OVER ACTION) (SFX: RAPID gnfre/WILSON SHOUTS) CUT TO: INT. LAB - NIGHT ABBY: I can't get through to Gibbs or McGee. GIBBS: Did you try them through the Port Security Office? ABBY: I was .... just about to do that. (SFX: TELEPHONE BEEP TONES) (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) LAKE: (INTO PHONE) Port Security. ABBY: (V.O./FILTERED) I need to speak... (SCENE CUT) ABBY: (INTO PHONE) ... to Special Agent Leroy Jethro Gibbs, please. LAKE: (V.O./FILTERED) He's not here right now. If you want... (SCENE CUT) LAKE: (INTO PHONE) ... I can patch the message to him over the radio. ABBY: (V.O./FILTERED) We've got a GPS... (SCENE CUT) ABBY: (INTO PHONE) ... Fix on our missing NCIS agents. LAKE: Hold on. (TO AGENTS) Hey! They got a fix on the missing Feds. (INTO PHONE) What are the coordinates? ABBY: (V.O./FILTERED) They're on the south side... (SCENE CUT) ABBY: (INTO PHONE) ... Within a five hundred meter radius of wrehouses.... (SCENE CUT) ABBY: (V.O./FILTERED) .... One through four. LAKE: (INTO PHONE) Okay, hey thanks. (END TELEPHONE INTERCUTS) CUT TO: INT. wrEHOUSE - NIGHT (MUSIC OVER ACTION) (SFX: RAPID gnfre) TONY: I'm down to four runds. You? ZIVA: Six but it doesn't matter. TONY: What do you mean it doesn't matter? (SFX: gnfre) ZIVA: Because a few more bursts like that and we're dad. TONY: I've got an idea. ZIVA: How come that doesn't comfort me? TONY: (V.O.) (SHOUTS) We found your money. (ON CAMERA) Cease fre or we start burning it! CUT TO: INT. wrEHOUSE - NIGHT WILSON: He's bluffing. (TONY THROWS LIT MONEY FROM THE CONTAINER) WILSON: Stop! Stop! What are you proposing? TONY: (V.O.) Surrender! WILSON: Then throw out your wapon. CUT TO: INT. CONTAINER - NIGHT TONY: Not us, you idiot! ZIVA: (SHOUTS) No! CUT TO: INT. wrEHOUSE - NIGHT WILSON: I think not. There's fifty million dollars in there. You'll be dad before you can burn half of it. CUT TO: INT. CONTAINER - NIGHT ZIVA: He's got a valid point. TONY: We just have to stall long enough for Gibbs to find us. (LOUDLY) Ah, I just need to talk to my partner about that for a second. CUT TO: INT. CAR - MOVING GIBBS: (INTO PHONE) Yeah, that's a solid copy, Lake. We're heading that way now. MCGEE: Those wrehouses are about two clicks from where we should make a left past these loading docks. GIBBS: Did you see that? MCGEE: That guy back there? (SFX: CAR TIRES SCREECH) GIBBS: Yeah, McGee, the one stuffing money in his pockets. (SFX: CAR TIRES SCREECH) (SFX: CAR DOORS OPEN) GIBBS: NCIS! PERKINS: I didn't steal it. I swear. I found it. GIBBS: Where? PERKINS: There was a container truck. It had money just floating out the back. GIBBS: Which way? Which way? PERKINS: It went that way. GIBBS: Let's go. MCGEE: Boss, that's the wrong direction. According to the GPS fix... GIBBS: Not according to DiNozzo. He said follow the money! (SFX: CAR TIRES SCREECH) CUT TO: INT. wrEHOUSE - NIGHT (MUSIC OVER ACTION) (SFX: RAPID gnfre) ZIVA: I'm empty. WILSON: (V.O.) This is your last chance! Come out or you de! TONY: So about those friction burns? ZIVA: Only when I'm absolutely positive we're going to de. TONY: Okay. I've got two minutes. ZIVA: And Tony? I'm sorry I didn't invite you to dinner last night. WILSON: (V.O.) What is your decision! LAKE: (V.O.) Lake! Port Security! Get your hands in the air! Get on your knees! Do it! Agent DiNozzo! Agent David! TONY: Lake? CUT TO: INT. wrEHOUSE - NIGHT LAKE: You two had a lot of people worried, let me tell you. GIBBS: Where's Gibbs? LAKE: He's on his way. Hey, do me a favor. Cover them while I radio for some help. ZIVA: We're out of amo. LAKE: Ah, gee. That's too bad. Come on, Wilson. Get up. Get the money. Get it into the van. Quickly! We don't have a lot of time. Hurry up! WILSON: When this is over, the woman is mine! LAKE: We'll see, Wilson. I'll be perfectly honest with you. I don't know if they're going to be alive then. (TO TONY) You know, you two almost cost me fifty million dollars. TONY: Actually, by now it's more like ten or twelve. ZIVA: We brned some of it. LAKE: (SHOUTS) Do you think this is funny?! TONY: Not me, personally. GIBBS: (V.O.) But I do. Drop it. (TO TONY) Are you two okay? ZIVA: No. (F/X: ZIVA KICKS LAKE) (SFX: LAKE GAGS) ZIVA: Now if you gentlemen will excuse me. TONY: Where are you going? ZIVA: I've been locked in a box all day! The lades room! CUT TO: INT. SQUAD ROOM - NIGHT TONY: You missed a little spot by my left ear there. I'd do it myself, but my wound here prevents it. MCGEE: Yeah, wound. It's a two inch scratch. TONY: I was grazed by a bllet. Another six inches to the left and bam! No more DiNozzo. Under the chin, too. MCGEE: You know what? I'm done. Do it yourself. TONY: Fine! Just don't come to me looking for sympathy the next time you get sht. MCGEE: Okay, you did not get sht. I talked to Ziva. You cut it on a wooden box. TONY: Hey, there was a lot going on in that container. Nobody's exactly sure what happened. All I know is I was running for my life in a hail of gnfre. ABBY: Tony! I was so worried... (ABBY HUGS TONY/TONY GASPS) ABBY: Oh my god. Are you okay? TONY: gn. ABBY: McGee! What didn't you tell me!? MCGEE: It's barely a scratch. ABBY: Oh, poor baby. Who's going to drive you home? ZIVA: I am. I'm making him dinner tonight. (ABBY HUGS ZIVA) ZIVA: What was that for? ABBY: I'm glad you're not d*ad. ZIVA: Oh, me, too. ABBY: So what are you making? ZIVA: Italian. TONY: You cook Italian? ABBY: Her cooking rocks, Tony! What was the name of that dish you made last night at your party? GIBBS: Chunks. Slow cooked beef with potatoes and beans. It wasn't bad. (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x12 - Boxed In"}	foreverdreaming
MUSIC IN: INT. CAR TRUNK - DAY OPERATOR: (V.O./FILTERED) NCIS. WILKERSON: (INTO PHONE) I need help! OPERATOR: (V.O./FILTERED) You're going to have to speak up, Ma'am. WILKERSON: (INTO PHONE) I've been abducted. (SFX: CAR DRIVES OVER BUMPS) (SFX: WILKERSON SHOUTS) OPERATOR: (V.O./FILTERED) Are you there, Ma'am? (SFX: TELEPHONE BEEP TONE) WILKERSON: I seem to be.... no! (SFX: PHONE REDIALS) OPERATOR: (V.O./FILTERED) NCIS. WILKERSON: (INTO PHONE) My name is Wilkerson. (SFX: CAR BRAKES TO A STOP) WILKERSON: (INTO PHONE) I've been abducted! CUT TO: EXT. CAR - DAY WILKERSON: (V.O./FILTERED) Please! Please, help me! OPERATOR: (V.O./FILTERED) Ma'am! (SFX: TRUNK OPENS) WILKERSON: (SCREAMS INTO THE PHONE) No!! Help me please!! (FADE OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "DECEPTION" TONY: Hi. You know what I like about coming to work on a Sunday? ZIVA: The relaxed dress code? TONY: Actually, no. It offers us the unique chance to get a glimpse into the private lives of our coworkers. ZIVA: Except I have no interest in your life. TONY: Now me? I was playing football. It's American football. You? I'm guessing, yoga? ZIVA: Why do you insist on calling it football when you don't use your feet? TONY: Huh. I hadn't though of that. Well, we kick it sometimes. Listen to this. So anyway, right, it's first and goal. I'm about to snap the ball... and my butt starts to vibrate. ZIVA: Oh, I've seen this on TV. There was a guy behind you. TONY: No, it wasn't the quarterback. It was my phone. ZIVA: So you keep it in your pants at all times? TONY: Enough about me. Let me guess. Pilates? ZIVA: Very good, Tony. TONY: I am an investigator. It's kind of what I do. ZIVA: Mm-hmm. TONY: I thought you said you were doing pilates. ZIVA: Isn't pilates one of your martial arts? TONY: No, it's kind of like the expensive stretching. ZIVA: Mm. Well then, I guess I wasn't doing a pilate. Do you mind giving me a hand with this? TONY: Yes, I do. Whose blood is that? ZIVA: Not mine. Where's McGee? TONY: In trouble. I left messages on his home phone, cell and Blackberry. No answer. ZIVA: Rule number three. TONY: Never be unreachable. When Gibbs finds out about this... GIBBS: Find out what, DiNozzo? TONY: TONY: We've got a possible abduction, Boss. Call came in at zero nine zero three Fairfax area code. Caller said her name was Wilkerson, then the line went dad. Ran a reverse look-up on the number. It came back belonging to a Navy Lieutenant Commander, Amanda Wilkerson. Stationed at the Department of the Navy, Washington, D.C. No one answers from her home phone or cell. She's currently on liberty. Scheduled to be back at work tomorrow morning at zero seven. (CONT.) That's a nice suit. You didn't get married again, did you? GIBBS: If you have more, DiNozzo, now would be a good time. TONY: Yeah. Ah, her cell wasn't GPS-enabled, but the service provider narrowed the call location um... you know, to the... to the... GIBBS: Radius? TONY: Radius. The two and one half mile radius. Yeah. And they said they'd contact us. If it's used again, we might be able to triangulate and get a fix. GIBBS: Where's McGee? TONY: I don't know. ZIVA: Sundays are a spiritual day in your country, Gibbs. Perhaps... GIBBS: Did you get Lieutenant Commander Wilkerson's home address? TONY: I did. GIBBS: Then why are you still here? Are you waiting for an invitation, Officer David? ZIVA: Oh, so you really are getting married? TONY: He means you're with me. ZIVA: Oh. I knew that. TONY: Tick, tock, tick, tock...(ABBY WALKS INTO THE SQUAD ROOM) ABBY: Good morning, Men. TONY: Hi. ABBY: Reporting for duty as ordered, Sir! GIBBS: Wrong hand, Abs. ABBY: Sorry, Sir. GIBBS: The call came in from a woman claiming she was abducted. Abby, I need an acoustical analysis of a tape. ABBY: Permission to speak freely, Sir. GIBBS: You always speak freely, Abs. ABBY: I know. I just always wanted to say that. So where's my tape? GIBBS: On the way to your lab. ABBY: So am I. If I finish quickly, maybe I can get back to Habitat for Humanity. I'm doing a bunch of wiring for them this weekend. GIBBS: We'll see, Abby. ABBY: Thank you, Sir. GIBBS: Don't call me Sir. ABBY: Thank you, Ma'am. CUT TO: EXT. WILKERSON'S HOUSE - DAY (SFX: DOOR BELL RINGS) ZIVA: It's clear she isn't home. What's our plan? TONY: We use good old-fashioned American ingenuity. ZIVA: Good plan except I'm not American, Tony. TONY: Well, lucky for you, I am. We start looking for the key. ZIVA: Why would there be a key? TONY: Because they always hide one. It's stupid, I know, but it's what they do. ZIVA: And you're certain there's no alarm? TONY: Positive. No sign, no alarm. But there's always a key. You may want to write that down. (DOOR OPENS) ZIVA: After you. CUT TO: INT. LIVING ROOM - DAY (DOOR CLOSES) (MUSIC OVER ACTION) ZIVA: Clear. TONY: Clear. Very O.C.D. ZIVA: O.C.D.? TONY: al retentive. ZIVA: Are you're saying she's a neat freak? TONY: Yeah. Nice job with the lock, by the way. ZIVA: Thank you. It was a very simple pin and tumbler design. TONY: So are handcuffs, but I'll bet you couldn't get out of a pair of those. ZIVA: Are you saying you'd like to handcuff me, Tony? TONY: That's not really my thing, Ziva. ZIVA: I see. You're the one who likes to be handcuffed, then, huh? TONY: Spread out. ZIVA: What are we looking for exactly? TONY: Anything that's out of place. ZIVA: You're going to have to be a little bit more specific. TONY: We're looking for a reason why someone would kidnap our Naval Officer. Preferably before Gibbs asks us for it. CUT TO: INT. MTAC - DAY MARTINO: (ON MONITOR) You're absolutely certain that the phone call was from Lieutenant Commander Wilkerson, Agent Gibbs? GIBBS: Not yet, Captain. I was hoping you could help me out with that. WILKERSON: (V.O./FILTERED) I need help! OPERATOR: (V.O./FILTERED) You're going to have to speak up, Ma'am. WILKERSON: (V.O./FILTERED) I've been abducted! Ah! MARTINO: (ON MONITOR) That's her. That's her voice. GIBBS: Now, why would someone abduct her? MARTINO: (ON MONITOR) She's a Force Protection Officer. GIBBS: Protecting what? MARTINO: (ON MONITOR) Right now my worst nightmare. We're now at force-protection condition Delta, gentlemen. Notify the Admiral. I'm heading your way, Agent Gibbs. I need to come in to brief you personally. GIBBS: Well, that's great, Captain. You mind telling me why? MARTINO: (ON MONITOR) Last night a shipment of nuclear fuel rods left a reactor plant in Ohio. GIBBS: Bound for? MARTINO: (ON MONITOR) That's classified. Only a handful of people know the exact route that train is taking, Agent Gibbs. GIBBS: And Lieutenant Commander Wilkerson was one of them. MARTINO: (ON MONITOR) Mm-hmm. CUT TO: INT. WILKERSON'S HOUSE - DAY (SFX: KEYBOARDING) TONY: Houdini? ZIVA: Hmm? TONY: How are you at picking computer locks? ZIVA: Not very good. Why, did you find something interesting, Tony? (bat) Tony, did you find something interesting? Tony! PARNELL: Hands over your heads! Now! You too, lady! Make any sudden moves, I sht. Do we understand each other? TONY: Okay, relax, Quickdraw. We're Feds. PARNELL: Yeah? What agency? TONY AND ZIVA: (IN UNISON) NCIS. PARNELL: Never heard of it. ZIVA: Naval Criminal Investigative Service. PARNELL: Never heard of it! TONY: You never actually get used to it. You think you will but you never do. Okay, I have a badge. PARNELL: Sit down! Cuff yourself to him. ZIVA: I'd rather you sht me first. PARNELL: Cuff yourself, dirtbag! TONY: Ow! PARNELL: Now, you cuff yourself to the chair. TONY: You're making a big mistake. PARNELL: Yeah, like you did setting off the alarm? ZIVA: Ha! TONY: There's supposed to be a sign outside. There's supposed to be a sign outside! PARNELL: Kids probably stole it. Don't move! (INTO RADIO) Central, I've got two suspects claiming to be Feds. TONY: No little red light on the radio means the radio not working. (TO ZIVA) Hey, will you please calm down? This guy is a little jumpy and nervous, so just relax. No sudden moves, all right? ZIVA: Mm-hmm.(ZIVA JUMPS PARNELL) PARNELL: Oh, don't sht! Don't sht! TONY: Nobody's going to sh*t anyone. Right, Officer David? ZIVA: He called me a dirtbag. PARNELL: I'm sorry, Ma'am. ZIVA: Ma'am! CUT TO: INT. LAB - DAY WILKERSON: (FILTERED ON TAPE) Wilkerson. My name is Wilkerson! ABBY: Did you hear that? GIBBS: Hear what? ABBY: Gibbs, I thought your hearing was better than your eyesight. How wrong was I? Okay, I'll just back up.... slow it down. Fiddle with the Hertz a bit and we will interpret this as we go. GIBBS: That would be a good idea. ABBY: Okay, so just after she says her name... WILKERSON: (FILTERED ON TAPE) Wilkerson... ABBY: Name that tune, Gibbs. GIBBS: That's a tire skid. ABBY: Yes! So the car braked. Next up is the thunk. WILKERSON: (FILTERED ON TAPE) ... Abducted! ABBY: Manual trunk release. Now the second that happens, the ambient noise changes. Mostly the engine sound. GIBBS: She's in a car trunk. ABBY: Yes, again. Now for the big finish. Exactly three point four seconds later... the trunk is slammed shut. But the engine sound stays the same until the phone shut off. GIBBS: They grabbed the cell phone, left her in the trunk. ABBY: I'm afraid so, Gibbs. GIBBS: If they left her there, Abs, how much time does she have? ABBY: Well, there's a lot of factors that play there. It depends on the age of the car, how airtight the trunk is, how much c-oh-two she releases in her panic... GIBBS: Abby! ABBY: Twelve hours she might be safe, then she'd slip into a coma. After seventeen, she'd definitely run out of oxygen. MUSICAL BRIDGE TO: EXT. PARKING LOT - DAY (SFX: WILKERSON BANGS ON THE TRUNK) (MUSIC OUT) FADE IN: INT. MTAC - DAY MARTINO: MARTINO: We stopped the nuclear supply train in Pennsylvania, in a rural area. It's heavily armored and defended by a platoon of Fast Company Marines. The fuel rods themselves are in a containment capsule capable of withstanding small arms fre. (CONT.) However, if someone did manage to detonate those fuel rods, they would irradiate a ten mile radius. GIBBS: How many other people know about the train's route? MARTINO: The personnel onboard escorting, the two Cobras flying air escort, and my staff. GIBBS: And Lieutenant Commander Wilkerson's involvement? MARTINO: She helped plan both the primary and alternate routes. GIBBS: What the hell was she doing on liberty, Captain? MARTINO: She was never involved in the operational phase. And she specifically requested today off. GIBBS: Why? MARTINO: I didn't ask. Are you suggesting that she's somehow involved in this? She's one of my finest officers. GIBBS: What's next on your checklist, or do you want me to guess? MARTINO: We head back to the processing plant, and reschedule our delivery. You think they're going to try to ht us on the way back? GIBBS: I think we ought to find your missing officer before we move that train again. CUT TO: INT. LAB - DAY ABBY: I thought you said she was organized! TONY: Her house looked like Martha Stewart's jail cell. Only neater. ABBY: Her hard drive is a mess. There's sub-folders with sub-folders, thousands of files, everything's password protected. She didn't know the concept of delete. MCGEE: Boss, I'm sorry I'm late. TONY: Look who's joined us. It's the ghost of David Niven. MCGEE: I couldn't hear my cell because of the commotion where I was. ABBY: Where was you? MCGEE: It won't happen again, Boss. GIBBS: You're right, McGee. It won't. Help Abby. MCGEE: Help Abby with what? (bat) Okay, I'll have Abby fill me in. What do we do? TONY: (LAUGHS) Don't even try to act all normal dressed like this. Come on. MCGEE: What is wrong with what I'm wearing? TONY: (LAUGHS) You've got elbow pads. Look at this. You're like "Mister Peabody, where's the wayback machine?" Is there a costume party? It's like... you're all dressed like an English professor. What are you doing? MCGEE: Are you finished? TONY: No, I haven't even started yet, Banacek. What do you got here? ZIVA: Oh, you smoke a pipe, McGee? MCGEE: I do not. TONY: This is his writing pipe. Our McGee fancies himself a novelist. MCGEE: I am a novelist. ZIVA: Don't listen to him, McGee. I think your attire is quite sexy. MCGEE: Thank you, Ziva. ABBY: Can we continue with this or are you guys going to make out for a while? MCGEE: Can I? ABBY: By all means. The computer belongs to an abducted Navy officer. All her files are encrypted. She hasn't defragged her hard drive since she got it so it's going to take time. MCGEE: I found something. ABBY: What? MCGEE: Electronic date book. ABBY: Where? MCGEE: It's an icon in the center of the desktop. I use the same program. ZIVA: Don't worry, Abby. Some times it's hard to see the jungle through the ferns. ABBY: Right. TONY: What do we have? MCGEE: Looks like her last appointment was today at eight thirty a.m. ZIVA: A half an hour before she called us. TONY: It say where? MCGEE: Braddock Mall. CUT TO: INT. CAR - MOVING TONY: Just out of curiosity....who taught you to drive? ZIVA: I did. (SFX: TIRES SCREECH) TONY: On the odd chance that I can actually see something traveling at warp speed, what kind of car are we looking for? ZIVA: Lieutenant Commander Wilkerson drives a two thousand two silver Jetta. TONY: Figures. ZIVA: What figures? TONY: Chick car. ZIVA: Meaning? TONY: There are guy cars and there are chick cars. It's a known and irrefutable fact. ZIVA: Was it a Government study? TONY: It's just a thing you know. You don't know how you know it, you just do. (SFX: CAR TIRES SCREECH) (SFX: CAR HORN HONKS) TONY: Sebring, Liberty, Jetta, Bug, the whole VW line, all chick. Mustang, Camaro, Escalade, PT Cruiser, all guy. Hummer, it's very guy but with adequacy issues. And then there's some that go both ways. (SFX: CAR TIRES SCREECH) TONY: It's an Accord, not a Jetta. But case in point. Mini Cooper and Acura fall in the same category. ZIVA: You've given this a lot of thought. It's very sad. TONY: Well then there's the Miata. It's a special case. Leans to chick. It can go guy. Usually means he's in denial, though. Stop! (SFX: CAR TIRES SCREECH) ZIVA: Gladly if it means I don't have to listen to your automobile gender issues. TONY: The plate matches. CUT TO: INT. LAB - DAY WILKERSON: (FILTERED ON TAPE) ...Abducted! ABBY: The car definitely ht something in the road. MCGEE: Play it back again. I mean, can you please play it back again? ABBY: Better, Timmy. MCGEE: You're mad at me. ABBY: I have better things to do than deal with your pipe-smoking fetish, McGee. MCGEE: I told you that I don't smoke it. It is purely an inspirational thing. ABBY: Whatever. If you want to get cancer, it's not my concern. MCGEE: Abby, I don't smoke. ABBY: The important thing here is to dissect this tape and try to get something that will help find Lieutenant Commander Wilkerson. MCGEE: Of course. ABBY: You're not the only one who came to work dressed differently today. MCGEE: I saw Tony and Ziva. ABBY: I was talking about me. Here's a hint. I'm not one of the Village People. MCGEE: Oh, no. The Habitat for Humanity was this weekend! Abby. Abby, I'm so sorry, okay? I'm sorry. I completely forgot. You must hate me. ABBY: I could never hate you, McGee. Don't let it happen again. CUT TO: INT. PARKING GARAGE - DAY ZIVA: There's no Commander in here. Need any help with that, Tony? TONY: No, I've got it. It's just been a while since I broke into cars on a regular basis. ZIVA: You broke into cars? TONY: I was a cop in Baltimore. ZIVA: You stole cars for the police? TONY: No. You wouldn't believe how many kids lock themselves in by accident. Or suicides that lock themselves in on purpose. Drug addicts who think they're on a trip....only the car's not moving. Old people. I love... ZIVA: Fond memories. Can I try that now? TONY: No. I almost got it. I've just got to stick it in and twist it around a little bit. There it is. Now I give it a nice firm yank... (SFX: METAL CLANGS TO THE GROUND) TONY: It happens with the German cars sometimes. Be right back. (LOUDLY) No one likes a showoff! ZIVA: Got something. (SFX: TAP ON GLASS) TONY: Ooh. Open up. Roll the tape. Did I ever tell you how much I like movies? ZIVA: Only several times a day. WILKERSON: (ON VIDEO) It's Sunday the fourteenth. Zero eight thirty three. Location, the parking garage at Braddock Mall. The agreed-upon meeting place with my target. He's promised money and a place to stay in exchange for my willing cooperation. WILKERSON: Why don't I think what she says is a good thing? TONY: Because you're a better agent than you are a driver? CUT TO: INT. LAB - DAY MCGEE: Boss, it looks like she used an I.D.E.A algorithm to generate a short key for some of the files. (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (V.O./FILTERED) I've got the software working now. As for the rest, I am... (SCENE CUT) MCGEE: (INTO PHONE) ....Condensing like extensions into their root subsets. (SCENE CUT) GIBBS: (INTO PHONE) In English, McGee. MCGEE: (V.O./FILTERED) I am working on... (SCENE CUT) MCGEE: (INTO PHONE) ...Opening the locked files and establishing protocol. ABBY: (INTO PHONE) Gibbs, what he's trying to say is that there's a crap load of stuff... (SCENE CUT) ABBY: (V.O./FILTERED) ... The sheer volume of material is daunting. (SCENE CUT) ABBY: (INTO PHONE) Even for a guy in a turtleneck. MCGEE: (INTO PHONE) But I'm working it as fast as I can. GIBBS: (V.O./FILTERED) Work faster, McGee. (SCENE CUT) GIBBS: (INTO PHONE) If she's still in the car trunk, we have about eight hours to find her until she runs out of air. (END TELEPHONE INTERCUTS) DUCKY: That's not strictly accurate, Jethro. I was on the ninth with a sht at a ten dollar Nassau when Abby called. She wanted to make certain her survival figures were accurate. GIBBS: How far off were they, Duck? DUCKY: Well, they were spot on, but something she said bothered me. She arrived at her figures based on a young woman in good health. Well, given the dire circumstances, I thought it best to verify that that was, in fact, the case. Lieutenant Commander Wilkerson was treated for acute bronchitis by an intern at the base two days ago. With her lungs in that condition, well, they would not be operating as efficiently as normal. GIBBS: How long? DUCKY: Well, her survival time would be shortened by several hours. CUT TO: INT. CAR TRUNK - DAY (MUSIC OVER ACTION/ WILKERSON BANGS ON THE TRUNK) (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - DAY TONY: (INTO PHONE) Well, you've been so helpful. I don't even know... GIBBS: DiNozzo! I hope that was background on Lieutenant Commander Wilkerson. TONY: It was, Boss. I talked to everyone in her command. They think she's clean. Not much social life. Spends half her time at work, half her time at home on her computer. She's basically... a McGee. GIBBS: McGee is not responsible for movement of nuclear fuel rods across country. ZIVA: And McGee didn't make a personal video about money and transport to a safe house. TONY: What's with that video anyway? It doesn't make any more sense than that phone call for help. ZIVA: They both accomplished one thing. The train is no longer mobile. GIBBS: The Navy can't risk moving it until they find out what happened to her. Navy. TONY: Yeah. GIBBS: As in us! MCGEE: Boss, I think I have something here. GIBBS: Show me, McGee. MCGEE: I'm not a hundred percent sure if it's anything, but I did find something that could possibly help us. GIBBS: Show me! MCGEE: Wilkerson's email log shows that she sent fourteen messages from the same location last night. It wasn't her home ISP. GIBBS: I can't read that! MCGEE: It's encrypted. GIBBS: Then un-crypt it! MCGEE: Well Abby and I are working on it. GIBBS: Why am I sitting here looking at you? MCGEE: Why, I thought that it might be helpful to know that Lieutenant Commander Wilkerson sent all these emails from a store called P.B.J. at the Braddock Mall in Fairfax. GIBBS: Wilkerson could suffocate at any time, (SHOUTS) and you couldn't tell me this with a phone call, McGee?! MCGEE: Well, I could. I should have. MUSICAL BRIDGE TO: INT. MALL STORE - DAY TONY: Hi. WOMAN: (V.O.) Hi. ROSS LOGAN: Can I help you? TONY: NCIS. I'm Agent DiNozzo, this is Officer David. ZIVA: It stands for Naval Criminal... ROSS LOGAN: Investigative Service. We've worked with NCIS before. I'm Ross Logan. I run this chapter of P.B.J. ZIVA: Peanut butter and jelly, yes? ROSS LOGAN: Actually, no. It stands for Perverts Brought to Justice. We're a non-profit that helps law enforcement track down online pedophiles. TONY: That was my second guess. ROSS LOGAN: It's Amanda Wilkerson. Is she in trouble? ZIVA: She's been um... TONY: Why do you ask if she's in trouble? ROSS LOGAN: I guess, past experience. ZIVA: Meaning? ROSS LOGAN: Meaning we have a strict policy to only monitor suspected abusers. We never confront. That's obviously your job. TONY: I'm going to take a wild sab and say Lieutenant Commander Wilkerson didn't always follow policy. ROSS LOGAN: Initially, no. She had a few confrontations with some of our targets. One ended up suing us for harassment. ZIVA: How long did she volunteer here? ROSS LOGAN: She started about two years ago. Ever since her fourteen year old niece was rped by an online predator. What's she done now? TONY: Gone missing. ZIVA: Her email records say she was here last night. ROSS LOGAN: She was. The eight to midnight shift. The last couple weeks, she's been working a pervert with the screen name "Fleet Captain." He thinks Amanda's fourteen. There's a transcript of last night's conversation. It's very... explicit. ZIVA: More like sickening. ROSS LOGAN: They're called perverts for a reason. TONY: You got an address for this freak? ROSS LOGAN: Unfortunately, no. His internet connections were routed through a dozen different ISPs and they change nightly. TONY: We're going to need your server and files, then. ROSS LOGAN: Look, our best hackers haven't been able to track him. TONY: You haven't met our hacker. ROSS LOGAN: He's good? ZIVA: Does a bear sit in the woods? ROSS LOGAN: Are you the crackerjack team on this job? TONY: She's Israeli. ZIVA: Look, I know I got the bear thing right. CUT TO: INT. LAB - DAY ZIVA: What can I do to help, McGee? MCGEE: Ah, you can stop touching things when you're not grounded. ZIVA: Right, sorry. Hack away. You won't even notice me here. MCGEE: Okay, but you're standing on my foot. ZIVA: Ooh! I thought that was a cable. My apologies once again. MCGEE: Are you sure there isn't something you want to help Abby with? ZIVA: Uh, no. I wish to improve my computer skills. So come on, hacky-sacky. CUT TO: INT. OUTER LAB - DAY ABBY: I've isolated the sound of the Commander's phone call. What do you think? (SFX: TAPE RECORDING) TONY: The thunk sort of sounds like metal. ABBY: You don't think I've already thunk that, Tony? TONY: Why'd you ask me to listen? ABBY: Because I went to a Plastic Death concert last night, and I couldn't even hear my alarm clock this morning and I want to be sure. TONY: Oh. Play it again. (SFX: TAPE PLAYS) TONY: A train track? ABBY: Yes, railroad tracks would be the obvious choice, but there isn't a second thunk or a thack. Not even a thock on that track. TONY: Have you been reading a lot of Doctor Seuss books? ABBY: You know I love listening to Theodore Geisel. OPERATOR: (FILTERED ON TAPE) You're going to have to speak up, Ma'am. WILKERSON: (FILTERED ON TAPE) I've been abducted! Ow! Ow! TONY: I think I heard something after the thunk, but the scream kind of covers it. Can you erase that part or something? ABBY: No, but I can mess with the frequencies. The sound you heard, was it higher or lower than her scream? TONY: Lower. WILKERSON: (FILTERED ON TAPE) I've been abducted! Ow! ABBY: It was a railroad track! Her screaming was covering up the second thunk. And I need to wear earplugs at concerts. Okay. Uh... the Commander was at the Braddock Mall at eight thirty a.m. TONY: Crossed railroad tracks twenty minutes later. ABBY: There. Those are the only railroad tracks within fifteen miles of the mall. TONY: Ox Road. That's good work, Abby. CUT TO: INT. SQUAD ROOM - DAY ZIVA: Assuming Abby is correct, the vehicle harboring Lieutenant Commander Wilkerson left the mall via Ox Road. The car traveled southbound passing three gas stations, a Wall-Mart, and this Lexus dealership. Two point six miles later they passed by this bank just before crossing the Dungy Street railroad tracks. TONY: How many times you pass go? Collect your two hundred dollars? You know, Monopoly, the board game? It's American. ZIVA: Ox Road eventually comes to an end at the luxury living community of Terra Trace Estates. The Fairfax police are now focusing their search on this central area. They estimate between eight to nine hours for a thorough search. GIBBS: Lieutenant Commander Wilkerson doesn't have that long. TONY: Which is why I tracked down the only available surveillance video on or near Ox Road. ht the little right button. This is the internal security camera at the Northern Virginia Savings and Trust ATM. It sits about three hundred yards north of the train tracks at Ox Road. Now we know the car passed over the tracks at zero nine zero four. The speed limit is thirty five miles per hour. So we've got to assume our abductor didn't want to attract attention by speeding, right? Our car should be passing this camera around.... hold on a second. Carry the seven. Divide by six... ZIVA: Right... here. TONY: I'm switching banks. ZIVA: You really think she's hot? TONY: She's a perfect ten with a great.... (GIBBS HITS ZIVA AND TONY) TONY: I saw that. Why did you give her the soft touch? Thank you, Boss. GIBBS: Is that the best sht you can get, Ziva? ZIVA: There's a few frames just after she blocks our view with her incredible... figure. TONY: That's a nineteen eighty nine Mercedes Five Sixty S-E-L, Boss. ZIVA: I can't see the plate. TONY: Well, use your little clicker and zoom in. That first number is either an eight or a six. GIBBS: It's an eight. TONY: With all due respect, Sir, your eye sight isn't exactly your strong suit. GIBBS: Eight six three Romeo Charlie Tango. Nine cars reported stolen from Northern Virginia this morning. TONY: One is a Benz five sixty S-E-L. ZIVA: William Lafferty, Fairfax, Virginia. GIBBS: (SHOUTS) Move it! CUT TO: INT. CAR TRUNK - DAY (MUSIC OVER ACTION/ WILKERSON BANGS ON THE TRUNK LID) CUT TO: INT. LIVING ROOM - DAY GIBBS: How long has your car been missing? LAFFERTY: Whoa. I just reported it missing this morning. I went out to get the paper and it was gone. GIBBS: When did you last see it? LAFFERTY: Uh... last night around nine. I came back from renting a movie. TONY: What movie? LAFFERTY: Does it matter? GIBBS: Oh, yeah. LAFFERTY: The title's kind of embarrassing. TONY: Back of the store? Triple X? LAFFERTY: No. ZIVA: "Weekend at Bernie's. Part Two." TONY: That's even worse. GIBBS: Anyone else have keys to your car? LAFFERTY: No. I live alone. Someone stole my car and used it in a crime, right? TONY: What makes you think that? LAFFERTY: Well, three Feds looking for a stolen eighty nine Mercedes. I'm not an idiot. GIBBS: You've been home all morning? LAFFERTY: Yeah. What happened? TONY: Can anyone verify that? LAFFERTY: Whoa. I didn't have anything to do with whatever shting or robbery my car was in.(PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. MCGEE: (V.O./FILTERED) Boss, hey, I picked up a trace on.... LAFFERTY: Line fish, Trigger and Clown. I breed them. ZIVA: I hate clowns. GIBBS: (INTO PHONE) Good work, McGee. We're on our way. (TO TONY) Someone's using Wilkerson's cell phone. McGee's getting a fix. LAFFERTY: What about my car? TONY: We'll call you. MUSICAL BRIDGE TO: EXT. ROAD - DAY MCGEE: (V.O./FILTERED) Keep going. Keep going. Okay, it's directly north of you right now. You should be right by it, Boss. The phone's still in use. GIBBS: (INTO PHONE) Yeah, I got it, McGee. (TO TONY) The signal's coming from a hundred yards of here. It's still active. (MUSIC OVER ACTION/ALL MOVE THROUGH THE TREES) (SFX: VOICES B.G.) GIBBS: Freeze! NCIS! TIM: Don't sht! DANNY: It's not our beer? GIRLFRIEND: (V.O./FILTERED) Hello? Danny? TIM: Yeah, we found it. GIRLFRIEND: (V.O./FILTERED) Danny? ZIVA: Who's on the phone? DANNY: My girlfriend? ZIVA: (INTO PHONE) Hi. Oh my god, don't touch me there! He's going to have to call you back. Bye! (TO DANNY) You're busted. (MUSIC OUT) FADE IN: EXT. WOODED PARK - DAY TONY: Definitely Lieutenant Commander Wilkerson's cell phone, Boss. Five calls made in the last hour. Two to an adult chat line and three to a teenage girl in Manassas. GIBBS: Coordinate with the locals. I want the park searched. TONY: Sheriff's department is enroute. ZIVA: They say they bought their phones from another boy. GIBBS: This boy have a name? ZIVA: I'm sure he does. They, however, claim not to know it. TONY: They also claim this isn't their beer. ZIVA: They don't think I know they're lying? Thank you, because I do! They're only children. TONY: Actually, they're teenagers. ZIVA: Whatever. The little one is about to cry. You have to draw the line somewhere, Gibbs. I mean, these boys are not potential su1c1de bmb. And I don't interrogate children. GIBBS: No, you don't, Ziva. You talk to them. CUT TO: INT. MTAC ROOM - DAY MARTINO: Why would Commander Wilkerson pretend to be a fourteen year old girl? MCGEE: Well, she was luring an online predator into a meet at Braddock Mall this morning. MARTINO: Her disappearance has nothing to do with the fuel-rod shipment? GIBBS: Maybe. ZIVA: The emails could be the way she communicates with her cell. MARTINO: In a pedophilia chat room on the Internet? Give me a break. ZIVA: Your response, Captain, is the exact reason why intelligence operatives use such methods. MARTINO: You still think there's a thrat? GIBBS: That train doesn't move until we find the Commander. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY DANNY: We didn't know the phone was stolen. TIM: We bought it from a guy we know at school. TONY: I want the name, Beavis. DANNY: Well, we don't like... know know him. TIM: Yeah, meaning we don't exactly know his name. TONY: Well, I... like think you're like totally like lying like. You want to know why? DANNY: Because you're old? (PHONE RINGS) TONY: Funny guy. You're playing a dangerous game, small fry. (INTO PHONE) Ops? Yeah, it's DiNozzo. Hey, Mattie. I need to requisition two sets of genital cuffs and I've got to requisition the Mark Five tazer again. No, you don't have to clean them. I'll wear rubber gloves. Thanks. (HANGS UP PHONE) TONY: I'm thirsty. Can I get you boys something to drink? You really should because interrogation makes you a little dehydrated. Okay. Oh, before I forget. Any history of testicular cancer or high blood pressure in the family? Okay, you know what? You guys think about that for a second. I'm going to do a little refill and we'll talk about the boring stuff later, funny guys! (TONY WALKS TO THE STAIRS) ZIVA: Genital cuffs? TONY: Steve Martin, Michael Caine, Dirty Rotten Scoundrels. Great. ZIVA: Whatever. It's working. TIM: (V.O./FILTERED) We have to tell them. CUT TO: INT. SQUAD ROOM - DAY DANNY: There's no such thing as genital cuffs. TIM: What if there is? DANNY: (V.O./FILTERED) What if Geck finds out we ratted on him? TIM: (V.O./FILTERED) The guys aren't even cops. (ON CAMERA) They're some secret government agency. You see the way that chick was playing with her Knfe? DANNY: Yeah, I know. It was kind of hot. Like Salma Hayek in Desperado. ZIVA: I've never seen that. TONY: All right. That's for the number. TIM: What number? TONY: Geck's, Beavis. Write. Write. Write. Write. Write. (WHISPERS TO ZIVA) And that is how you interrogate kids. CUT TO: INT. LAB - DAY MCGEE: This guy is not your average pervert, Abs. He's got some serious programming skills. ABBY: Yeah? Well so do we. MCGEE: Well, that might now be enough this time. ABBY: Don't say that, McGee. Commander Wilkerson's almost out of time. MCGEE: Damn it! I keep losing his connection in Madrid! ABBY: Okay, that's it. You need a break. MCGEE: We don't have time for breaks, Abby. ABBY: We don't, but you do. GIBBS: How many times have I told you he's not a toy? ABBY: Hi, Gibbs. He's getting a little stressed out. GIBBS: So am I. Tell me you two have found Captain Pervert. MCGEE: Fleet Captain Pervert. And we keep losing his computer's connection in Spain. GIBBS: Unlose it. MCGEE: It doesn't work that way. ABBY: It's true, Gibbs. The servers are down in Madrid and we can't pick up his trace without them. GIBBS: Pick it up somewhere else. Look, we already know this guy is somewhere in Virginia, otherwise he couldn't have shown up at Braddock Mall. We also know he stole a car this morning from a home in Fairfax County. ABBY: Why didn't you think of that? MCGEE: Me? What about you? GIBBS: Can you find him or not? ABBY: If we know he's in Fairfax... MCGEE: Then we can match his computer's profile against ISP node service in the area. ABBY: Maybe an hour, Gibbs. GIBBS: Good, you have-- ABBY: Twenty minutes. I know. MCGEE: We know. GIBBS: I was going to say ten.(SFX: GIBBS SPITS IN THE CUP) CUT TO: INT. SQUAD ROOM - DAY TONY: (INTO PHONE) Look, we need to know where your son is, Mister Geckler. Well, where does he usually hang out on Sundays? GECKLER: (V.O./FILTERED) Braddock Mall in an arcade.(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) TONY: (INTO PHONE) Okay. Well, if he gets home, tell him he can't leave and you call me. Thank you. (HANGS UP PHONE) ZIVA: He appears to be a busy young man. TONY: He's also our only link to the Commander. GIBBS: Not anymore. Give the kid's stuff to McGee. We found the pervert. TONY: Where? MCGEE: The computer he was using traces back to two three three four six Maple Street. ZIVA: Mister Clown Fish. TONY: William Lafferty? GIBBS: Come on, let's roll. MUSICAL BRIDGE TO: EXT. HOUSE - DAY (MUSIC OVER ACTION/ALL RUN TOWARD THE HOUSE) (KNOCK ON DOOR) ZIVA: Just give me ten seconds and I'll - oh. GIBBS: (INTO RADIO) DiNozzo, we're in position. (DOOR OPENS) CUT TO: INT. HOUSE - DAY (SFX: TV B.G.) TONY: DiNozzo coming in. GIBBS: Clear. TONY: Back of the house is clear, Boss. Looks like this guy left in a hurry. GIBBS: You think, DiNozzo? ZIVA: And he won't be coming back. Bleach. TONY: He poisoned his fish? GIBBS: Because he couldn't take them with him. ZIVA: These fish were his prize possessions. If he can't have them, no one can. Fits the profile of a malignant narcissist. GIBBS: Spread out. ZIVA: What are we looking for, Gibbs? GIBBS: Anything that will tell us where this freak went. CUT TO: INT. INTERROGATION ROOM - DAY MCGEE: Jason Geckler. My name is Special Agent McGee, NCIS. JASON: Like I told your other agents, I'm not saying anything until my dad gets here. MCGEE: He's on his way. He also said that he expects you to give us your full cooperation. JASON: Yeah? And how do I know that you really talked to him? MCGEE: Well, he wanted me to remind you that Winthrop Military Academy is still accepting applications. JASON: He would never send me there. The kind that costs money, dude? MCGEE: Does it look familiar? It was being used by two of your classmates, a Timothy Griffin and Daniel Austin. They said they got it from you. JASON: Did they now? Well, I'll just have to be sure to thank them for that when I get home. MCGEE: Look, a women's life is at stake here, okay? I need to know where you got the phone. (LONG bat) Tim and Dan, they must be pretty scared of you, huh? JASON: What makes you say that? MCGEE: Come on. They're obviously geeks. We used to shove them into lockers. Pull their gym shorts off in class. Drop their books down the toilet. It was even better if they start crying, right? JASON: Or wet their pants. MCGEE: Yeah, well that, too. You know what the best part is? When you get older, you're not going to remember their names, but you know what? They're always going to remember yours. That's pretty cool, huh? JASON: You know, I really haven't thought about it too much. MCGEE: Well, I have. You know why? Because I was one of those kids. And I've been looking forward to this day my entire life, dirtbag. JASON: But I didn't do anything! MCGEE: I've got you for aiding and abetting a kidnapping, interfering a Federal investigation, and selling stolen property. Do you know what that means? That means they can try you as an adult, Geck. And when you're in prison, every night when you're crying yourself to sleep, I want you to think of me, tough guy. We're done here. See you in court. JASON: Wait, wait, wait, wait. Look, I found it, all right? I can show you where. (DOOR CLOSES) CUT TO: INT. CAR MOVING - NIGHT TONY: The BOLO's out on Lafferty, Boss. ZIVA: And his passport expired. He can't leave the country.(PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) MCGEE: (V.O./FILTERED) Boss... (SCENE CUT) MCGEE: (INTO PHONE) I just spoke with Geckler. He said he found the phone at around noon today. (SCENE CUT) GIBBS: Where, McGee? MCGEE: (V.O./FILTERED) The uh... (SCENE CUT) MCGEE: (INTO PHONE) Braddock Mall parking garage. Lafferty must have driven her back there. (END TELEPHONE INTERCUTS) TONY: Where are we going now, Boss? GIBBS: The mall. ZIVA: And they have a problem with my driving? CUT TO: EXT. PARKING GARAGE ROOM - NIGHT (MUSIC OVER ACTION/MAN RUNS TO THE CAR) (SFX: TRUNK OPENS) ZIVA: Drop your wapon! GIBBS: (SHOUTS) NCIS! Get down on your knees. ROSS LOGAN: Okay. Okay. All right. TONY: Put your hands on your head! ROSS LOGAN: Okay! GIBBS: Let me know if I'm hurting you. ROSS LOGAN: Ah, it hurts! It hurts! GIBBS: Good. ZIVA: A squeegee gn? ROSS LOGAN: I was only trying to teach her a lesson. TONY: Ross Logan, Boss. ZIVA: The man who runs Perverts Brought to Justice. ROSS LOGAN: Look, I knew she was going to confront Fleet Captain, so I followed her in case anything happened! GIBBS: You kidnapped her and locked her in the trunk of a car! ROSS LOGAN: To scare her! That's all! I came back. I was letting her out! Ow! Look, we have rules for a reason. Breaking them could get her k*lled. TONY: She's on her way to Bethesda in a coma, Logan. ROSS LOGAN: Hey! Ow! Oh... CUT TO: INT. OBSERVATION ROOM - NIGHT ROSS LOGAN: Look, I... I never meant for Amanda to get hurt. GIBBS: I'll be sure to tell her that if she lives. ROSS LOGAN: Why do you think I parked the car at the mall, huh? I wanted someone to find her. GIBBS: (V.O.) Where's Lafferty? CUT TO: INT. INTERROGATION ROOM - NIGHT ROSS LOGAN: Who? GIBBS: Fleet Captain. ROSS LOGAN: How would I know? GIBBS: You were working with him. ROSS LOGAN: Are you insane? I've dedicated my life to putting perverts like that behind bars. GIBBS: You were driving his car. ROSS LOGAN: Because when I confronted him at the garage, the guy just took off. GIBBS: Without his car? ROSS LOGAN: They're cowards. CUT TO: INT. OBSERVATION ROOM - NIGHT ROSS LOGAN: It's actually pretty common. GIBBS: Oh really? Is it also common to kidnap your co-worker? CUT TO: INT. INTERROGATION ROOM - NIGHT ROSS LOGAN: I had to make a choice. We provide you with the transcripts of them soliciting sex from minors. We give you their names, their addresses, and you know what happens most of the time? You let them walk. CUT TO: INT. INTERROGATION ROOM - NIGHT ZIVA: Is that true, McGee? MCGEE: Well, the system isn't perfect. The punishment doesn't always fit the crime. ZIVA: Personally, I prefer simpler ways of handling things. MCGEE: I don't suppose any of those ways are legal. GIBBS: (V.O./FILTERED) You decided to frame him? CUT TO: INT. INTERROGATION ROOM - NIGHT ROSS LOGAN: Amanda spends a few hours in a car trunk, and Fleet Captain spends at least ten years in prison. And that sounds like a fair trade to me. Look, monsters like Lafferty destroy lives. That guy deserves to be in prison. GIBBS: Be patient. You may see him there before you get out. ROSS LOGAN: (LAUGHS) This is classic. I go to jail while he's free to find a real fourteen year old. You think that's justice, (V.O.) Agent Gibbs? (DOOR CLOSES) CUT TO: INT. SQUAD ROOM - NIGHT ABBY: Where's the boss-man? TONY: I think he went home. ABBY: He never leaves before I do. ZIVA: It's been a long Sunday, Abby. MCGEE: All righty. I just got off the phone with Bethesda. Commander Wilkerson is a little dehydrated, but otherwise doing just fine. ZIVA: So you could say today would qualify as a success. TONY: Except we let a pervert get away. ABBY: Whoa. Gibbs went home with a child molester on the loose? There's no way. TONY: Oh, you're right. ZIVA: Where is he? CUT TO: INT. MTAC - NIGHT GIBBS: The pedophile's at the front of the line putting his bag on the belt right now. Get him. AGENT: (V.O./FILTERED) Roger that, Agent Gibbs. (MUSIC OVER ACTION/SCUFFLE ON MONITOR) (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x13 - Deception"}	foreverdreaming
MUSIC IN: EXT. STREET - DAY (MUSIC OVER ACTION/CAR BRAKES TO A STOP) (SFX: YOON SPEAKS TO HER BABY IN KOREAN) GINA: What an adorable child, Yoon! She's like a little doll. How come I have never met this little munchkin before? YOON: She usually stays with the sitter while we go shopping... (SFX: GINA COUGHS) GINA: She's such a cutie! YOON: We're running a little late today, so if you'll excuse us. GINA: Here, let me help you, dear. YOON: Oh, thank you. GINA: Sure. I doubt they'll hear us. They've been playing that Chinese stuff all morning.(KNOCK ON DOOR) YOON: Actually, it's Korean. GINA: Oh right, sorry. You know, Sun usually leaves her back door open. Come on. CUT TO: INT. KITCHEN - DAY (SFX: MUSIC B.G.) (SFX: TEA KETTLE WHISTLES) GINA: My aunt brned down her house like this. You really should be more careful. (SFX: MUSIC OUT) GINA: Oh, now that's better. I'm not usually one to complain... (SFX: YOON GASPS) (SFX: GINA SCREAMS) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "LIGHT SLEEPER" ZIVA: I don't understand, McGee. Sensitivity training? MCGEE: Yeah, it's a seminar covering the basics of communication and understanding in the workplace. ZIVA: I know what sensitivity is. I'm asking why we have to spend the whole afternoon studying it. MCGEE: Professional development? ZIVA: If it were survival training, advanced demolitions, perhaps-- MCGEE: I don't think that Sympathetic Seminars, Inc. offers those classes. ZIVA: I'm simply saying that skilled investigators should already be well-versed in the subtleties of inter-human communication. TONY: I like Italian women. You're Italian, right? I like Irish women, too. ZIVA: I stand corrected. TONY: You two better hurry up, don't want to miss out on all of the fun. ZIVA: Whoa! Whoa! Whoa! Whoa! Whoa! Where are you going? TONY: Prior engagement. Take notes for me. MCGEE: You do understand the meaning of the word mandatory, don't you? TONY: I have been ordered to inspect the secure file room, Probie. Sadly, that conflicts with your exciting seminar today. ZIVA: No, it doesn't. This order is for next Wednesday. TONY: What? ZIVA: Look on the bright side, Tony. MCGEE: It should only take about five to seven hours. TONY: There's got to be some way out of this. Maybe I could injure myself. Ow! ZIVA: What? I was only trying to help. TONY: I was only kidding. GIBBS: Sensitivity training is going to have to wait. We got a double homicide at Quantico. Marine wives. Grab your gear. TONY: (IN PAIN) Yeow! ZIVA: Inappropriate? MCGEE: A bit. TONY: That, and you're probably the reason we have to take these stupid classes. GIBBS: Today! TONY: On your six, Boss! CUT TO: INT. LIVING ROOM - DAY TONY: You know, this kind of reminds me of my cousin's house... minus all the blood. Unless you count that Thanksgiving back in ninety eight. DUCKY: Family does have a way of fraying one's nerves. Take my mother, for instance. She insists on watching Jeopardy every night on the television. TONY: What's wrong with that, Duck? DUCKY: The same episode. Over and over again. I made the mistake of taping it for her once. JIMMY: I always say, you can pick your nose, but you can't pick your family. DUCKY: There's a touch of the poet in you, Mister Palmer. TONY: I'd say you're just more touched. GIBBS: DiNozzo. TONY: House belongs to a Sergeant Malcolm Porter and his wife, Sun, Boss. She's the one on the left. Sergeant's still on liberty, trying to track him down. The other vic is Min Crane. She's married to a Sergeant Floyd Crane, currently deployed in Iraq. (ZIVA MOVES THE PICTURE ON THE WALL) GIBBS: Sign of an unhappy marriage. ZIVA: Funny. I thought it looked like a hole in the wall. GIBBS: It's about fist-sized. Husband probably ht the wall instead of hitting his wife. What else do you see? ZIVA: Well, judging by the position of the body I'd say they were taken by surprise. GIBBS: Yeah? Why? ZIVA: Body posture. They're too relaxed. They didn't fight back. Of course, that could also mean they knew the identity of their attacker. GIBBS: Search the rest of the house. TONY: Our little girl's becoming quite the crime scene investigator, isn't she, Boss? I'll help McGee talk to the women who found them. GIBBS: You got a T.O.D. yet, Duck? DUCKY: Very recent. Both liver probes indicate about two and a half hours ago. GIBBS: Triple tap, all in the heart. DUCKY: Yeah, but notice these burn marks around the entry wounds here...and on this one. In both of those the wapon was in direct contact with the body when fired. GIBBS: Two from across the room, then one each up close, just to be sure. DUCKY: I don't believe the term overkill would be inappropriate under these circumstances. GIBBS: The bllts didn't penetrate. DUCKY: Maybe they're a small caliber. Did you find any casings? GIBBS: Ah, the sht policed his brass, Duck. JIMMY: Policed, Sir? DUCKY: Yes, it's military terminology for cleaning up after one's self. We may be dealing with a professional. JIMMY: Professional what? DUCKY: kller, Mister Palmer. These poor women weren't so much mrder... as excuted. CUT TO: INT. KITCHEN - DAY YOON: She just needs her bottle. I know I packed it.(SFX: BABY CRIES B.G.) MCGEE: Look, look. Your mom's right there. She's right there. GIBBS: Did you ever hold a baby before, McGee? (SFX: BABY CONTINUES CRYING) MCGEE: No. GIBBS: I didn't think so. Shh... MCGEE: Uh, Boss, this is Mrs. Dawson. She found the bodies along with one of the next-door neighbors. YOON: We were going into Koreatown... shopping. I'm the only one with a car. Sun asked me to come pick them up. If we'd been on time... GIBBS: Need some help? Any idea where Sun's husband is, Mrs. Dawson? YOON: No, he's never here when we come over. I don't think he liked Sun having friends. MCGEE: What makes you think that? YOON: He's very... controlling. GIBBS: Sergeant Porter abused her? YOON: Sun wouldn't admit it. But we suspected. He drinks. Says mean things to her. Wouldn't let her speak Korean in the house. We tried to reason with her but... GIBBS: She wouldn't leave him? YOON: She was ashamed. It's hard for a Korean woman to ask for help. GIBBS: Find Porter. DAWSON: I'd start at the "E" Club. (DAWSON ENTERS CLUB) YOON: James. DAWSON: I'm Yoon's husband. Listen, if you don't find Porter there, you might want to try some of the bars outside the front gate. MCGEE: I'm on it, Boss. DAWSON: Everything's going to be okay now. ZIVA: Gibbs. A word, please? gn safe. I found it in the master bedroom. Open and empty except for a handful of shells. Forty caliber. I'm thinking maybe the husband did this, yes? CUT TO: EXT. HOUSE - DAY GINA: I guess the polite term, Agent DiNozzo, would be bastard. He was always borrowing my husband's tools and never returning them. I should have known something like this would happen. TONY: Stealing tools isn't really a prerequisite for mrder, Mrs. Goodwin. GINA: All I'm saying is the two of them had one hell of a marriage. You wouldn't know it to look at her, but Sun's got a set of lungs, or at least she did. TONY: So they fought a lot? GINA: Oh, hardly a night went by you didn't hear all sorts of screaming coming from this house. (SFX: CELL PHONE RINGS) TONY: Did you ever think to make a complaint? GINA: I don't like to stick my nose in. Good thing, too. It could have been me that got slaughtered. GIBBS: (INTO PHONE) On our way, McGee. (TO TONY) Sergeant Porter was spotted thirty minutes ago at the "E" Club. McGee's almost there. TONY: Thanks. (TO GIBBS) Probie's not going to make a move on his own, is he, Boss? GIBBS: McGee can take care of himself, DiNozzo. TONY: You're .... CUT TO: EXT. BAR - DAY MCGEE: He's gone. TONY: Nice job, Probie. MCGEE: The bartender says he turned around, Sergeant Porter wasn't there anymore. TONY: You let him get past you? MCGEE: It was before I got here, Tony. GIBBS: What's Sergeant Porter driving? (LOUDER) What kind of car does he drive!? ALL: A black two thousand Ford F-One Fifty, Boss. GIBBS: Hey, come on.(MUSIC OVER ACTION/ALL MOVE TO PARKED TRUCK) MCGEE: Boss, we got a wapon in the front seat. TONY: I think he's dad, Boss. (MUSIC UP AND OUT) MUSIC IN: EXT. PARKING LOT - DAY TONY: (SHOUTS) NCIS! Don't move! GIBBS: (SHOUTS) Get your hands on the wheel! PORTER: I wasn't going to drive! Come on, it's not DUI if I don't have a key in the ignition. Look! ZIVA: What's he talking about? GIBBS: I think he thinks we're busting him for driving drunk. PORTER: Oh, you're not? TONY: No. It's for double homicide. GIBBS: McGee? PORTER: Wait a minute. MCGEE: Yeah. PORTER: What are you talking about? TONY: I knew he was alive. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Precision, Mister Palmer. It's what separates the professional from the dilettante. JIMMY: Thank you, Doctor. DUCKY: Now careful. Not too much pressure, but not too little either. All right, come on, come on, come on. Let's see. Yes, very good. Not bad. Not bad at all. Keep a steady hand. There's no room for error. You never know which element of the enigma, however minuscule, can lead you to the solution. (SFX: DOORS SLIDE OPEN) GIBBS: Palmer just got some of your elements on his plastic thing. DUCKY: An occupational hazard, I'm afraid. GIBBS: What can you tell me, Duck? DUCKY: Both women were sht three times in the chest. It's hard to say which of the six was the fatal wound. Suffice to say, neither woman died of old age. GIBBS: Anything else? GIBBS: Yes. Mrs. Porter has some swelling and fissures on her fingers and knuckles. GIBBS: Defensive wounds. DUCKY: Possibly. Yes, but these didn't happen today. There are also bruises on her wrists. I'd say they were at least a week old. GIBBS: She was abused? DUCKY: Yeah. GIBBS: Thanks, Duck. DUCKY: You have the man in custody now? GIBBS: Yeah. DUCKY: There's no need to be gentle with him, Jethro. GIBBS: You missed a spot. CUT TO: INT. LAB - DAY ABBY: We're looking at a Beretta Cougar Eighty-Forty, Gibbs. It was registered to Sergeant Porter in Two thousand three and it's got his fingerprints all over it. GIBBS: bllts? ABBY: Um... cross-point forty caliber Smith and Wesson. Also called a "Short and Wimpy" although I do not know why. GIBBS: They lack the power of the ten millimeter auto-load. ABBY: Yeah, I guess you don't need all that stopping power when you're gn down housewives. GIBBS: What about gn residue? ABBY: The Instant sht Kit came back negative on Porter's skin, shirt, and pants. GIBBS: He could've worn gloves, though. ABBY: Or he could have changed his clothes. I'm way ahead of you, Gibbs. That's why I'm doing a full analysis on all of Porter's wardrobe. (AS GIBBS) How long, Abby? (AS ABBY) Well, it's going to take some time. And since this stuff doesn't smell very good, I don't think that laundering was a big priority. (AS GIBBS) Abs! (AS ABBY) Um, two hours. Whenever I know something, you'll know something. (AS GIBBS) You've got one. Anything else? (AS ABBY) Yes, as a matter of fact. This is for you! GIBBS: Why? ABBY: ABBY: For getting me out of sensitivity training. We were about to do trust falls and those guys in administration have wandering hands. (AS GIBBS) Just give me their names, Abs, and I'll break them for you! (CONT. AS ABBY) I know you will, Gibbs, and that is why I love you. CUT TO: INT. HALLWAY - DAY (SFX: MCGEE BUMPS INTO GIBBS) MCGEE: Oh! Uh, Boss, I'm sorry. I didn't see you. GIBBS: What did I say about apologizing, McGee? MCGEE: It's a sign of weakness. GIBBS: So is barfing on your tie. MCGEE: Uh, this isn't mine. Um... we've got Sergeant Porter in interrogation. I actually managed to dodge most of it. The good news is that he is sober enough to talk now. I got some on you here (WIPES GIBBS' TIE) Let me do this. GIBBS: Don't ! MCGEE: Sorry. I mean, it won't happen again. GIBBS: Who's watching him? MCGEE: Uh, Tony and Ziva, I was just going to go change my shirt. GIBBS: No, you won't. You're going to follow up on the good leads. MCGEE: We found Sergeant Porter with the mrder wapon. What other leads? GIBBS: A good investigator doesn't sit back and wait. You run down every angle, every lead. Assume everything you've been told is a lie until it checks out. MCGEE: Got it. GIBBS: There's only one time I want you to stop, McGee. MCGEE: When you tell me. GIBBS: When you're satisfied. When you're satisfied! MCGEE: Okay. GIBBS: Hey! MCGEE: Yeah? GIBBS: Get me another cup of coffee! MUSICAL BRIDGE TO: INT. OBSERVATION ROOM- DAY TONY: This is going to be good. Gibbs will rip this guy apart. ZIVA: I don't know if that's the right tactic in this case, Tony. TONY: What? Are you an expert on suspect interviews now? ZIVA: Interviews, no. Interrogation techniques, yes. TONY: Hm. Like hooking a car battery up to a guy's privates? I'm sure it's effective, but judges tend to frown on it. ZIVA: I've learned from Gibbs that in certain cases you can attract far more bees with honey... TONY: Flies. ZIVA: What do flies have to do with honey? TONY: Flies... don't like vinegar. ZIVA: Vinegar? TONY: It's complicated. Here he comes. CUT TO: INT. INTERROGATION ROOM GIBBS: Here you go. There. You look like you could use it. PORTER: My wife's really dad, Sir? How? GIBBS: Drink your coffee, Sergeant. When you're ready we'll work our way up to it. CUT TO: INT. OBSERVATION ROOM TONY: What's he doing? Where's his strong-arming? The intimidation? The psychological bullying? The Gibbs? GIBBS: (V.O.) Bad marriage, huh? CUT TO: INT. INTERROGATION ROOM GIBBS: It's okay. I've had a few myself. PORTER: It wasn't perfect, but I loved her, Sir. The problem was, I don't think uh... I don't think she ever loved me. GIBBS: I'll bet she loved that paycheck, though, right? PORTER: Yeah. I should have known. 'Cause look at me. She was way out of my league, you know. She just married me to get to the States. GIBBS: It happens. PORTER: The thing is, I guess I always thought she might change her mind, you know? But then she started sneaking off to the "O" Club, hanging out with Officers. GIBBS: I've seen it before. She thought she could trade up. PORTER: She didn't want me. No matter what I did. It just got to the point, I just wanted her to disappear. GIBBS: Yeah, when you get pushed, you want to push back. That why you decided to blow her away? PORTER: Excuse me, Sir? GIBBS: Is that the reason you sht Min Crane and your wife to death today? CUT TO: INT. OBSERVATION ROOM TONY: Okay, here we go. ZIVA: He hasn't confessed yet. TONY: He will. ZIVA: Maybe. TONY: How much do you want to bet? ZIVA: How about nothing? TONY: Twenty bucks? ZIVA: Deal. PORTER: (FILTERED) I'm telling you... CUT TO: INT. INTERROGATION ROOM PORTER: I didn't kll them, Sir. GIBBS: The mrder wapon was in your truck, Sergeant. PORTER: Someone must have... someone must have put it there. GIBBS: Your fingerprints are all over it. PORTER: I didn't sh*t my wife, Sir! GIBBS: Did you use your fists on her, Sergeant? Knock her around a little bit or maybe ... maybe that just wasn't cutting it anymore. PORTER: I never laid a hand on Sun. CUT TO: INT. OBSERVATION ROOM GIBBS: (V.O.) A neighbor heard the fights, Sergeant. CUT TO: INT. INTERROGATION ROOM GIBBS: I saw the hole you punched in your wall. PORTER: I only punched the hole in the wall so I wouldn't ht her, Sir! GIBBS: Her hands were all bruised and cuffed from where she fought you off all the time. PORTER: That's not how it happened. GIBBS: Really? Then how did I get wrong, Sergeant?! How did it happen? PORTER: She was - she was the one who was abusing me. You don't believe me? Take a look at this. GIBBS: Sit down. PORTER: Sun was violent, Sir. She ht me. She called me names. She threw things. I tried to hold her off, but I never ... I never once laid a hand on her. I just wanted it to stop. CUT TO: INT. OBSERVATION ROOM TONY: Pay up. ZIVA: He didn't confess. TONY: It was damn close. GIBBS: Close doesn't cut it, DiNozzo. TONY: Well, we got enough evidence even if you didn't break him in interrogation, Boss. Not to say that you couldn't have broken him if you wanted to. I really like that shirt. ZIVA: Tony's right. You have Sergeant Porter's gn with his fingerprints in his car. TONY: He blows away his wife and her friend in a fit of rage. Gets drunk. Passes out before he can commit su1c1de. GIBBS: Why did he police his brass? ZIVA: Habit of a well-trained Marine. GIBBS: He worked the motor pool. According to his records, he failed to qualify twice in the pstol range last year. Abby get the results of the GSR tests on his clothing yet? TONY: All negative, Boss. ZIVA: He could have worn gloves or gotten rid of the clothes he was wearing. GIBBS: But he leaves his pstol in full view on the front seat. MCGEE: Boss, I think I've got something here. I just spoke with the Director at Quantico Officer's Club. Apparently Sun Porter was a regular fixture there. Almost always with Min Crane. A month ago, they were all banned. GIBBS: For what, McGee? MCGEE: One of their husbands showed up. Made a scene. Had to be carried out. TONY: Another nail in Sergeant Porter's coffin. MCGEE: It wasn't Sergeant Porter, Tony. It was Sergeant James Dawson. Yoon's husband. CUT TO: INT. LIVING ROOM - DAY DAWSON: Heard you guys got Sergeant Porter at the "E" Club with the mrder wapon. I knew they were having troubles, but never expected something like this. GIBBS: Where's your wife, Sergeant Dawson? DAWSON: She's taking a nap with our daughter. Why? Is something wrong, Sir? GIBBS: What happened at the Officer's Club last month? TONY: Let me refresh your memory. You had an altercation with two Marine Captains. DAWSON: Yeah. It was nothing. It was just a misunderstanding. GIBBS: Big enough for a Letter of Reprimand in your SRB. ZIVA: Maybe we should ask your wife about it, Sergeant? DAWSON: She's had a really rough day. I'd rather not disturb her. ZIVA: That the bedroom down the hall? DAWSON: Yeah, it is but I'd rather not disturb her. TONY: We're just going to make sure she's still breathing. DAWSON: What? You think I'd kll Sun and Min because they had a couple of drinks with my wife at the "O" Club? (KNOCK ON DOOR) ZIVA: Mrs. Dawson, NCIS! Can we ask you a few questions?(SFX: BABY CRIES B.G.) DAWSON: Yoon. It's me. Please. Yoon, open up. GIBBS: Do you have a key? DAWSON: It's locked from the inside. Yoon! Yoon!(SFX: BABY SCREAMS) (SFX: DOOR BURSTS OPEN) DAWSON: (V.O.) It's okay. It's okay. (MUSIC UP AND OUT) FADE IN: INT. LIVING ROOM - DAY DAWSON: It doesn't make sense, Sir. Someone kills my wife's two best friends, then they decide to kidnap her? GIBBS: When's the last time you saw her, Sergeant? DAWSON: About an hour before you showed up. She was putting the baby to sleep in our room. GIBBS: You didn't hear anything? DAWSON: No. And can we stop standing around and do something? GIBBS: We are. We are. Sit down. DAWSON: And what exactly is that, Sir? GIBBS: Figuring out if you're a suspect or a victim. ZIVA: The window was broken from the outside. Whoever did this slipped in, grabbed her and slipped out. TONY: None of the neighbors heard or saw anything unusual, Boss. MPs are searching the area. They're also checking every vehicle leaving the base. DAWSON: You think she still might be on base? GIBBS: That's possible. DAWSON: Well, then we need to be out there looking for her. GIBBS: If she's still on base we'll find her. ZIVA: Someone put a lot of effort into taking her away from your home without alerting you, Sergeant. There's a good chance she's not dad yet. DAWSON: Yet? Oh, god, why would someone do this? GIBBS: Maybe for the same reason someone klled her friends. DAWSON: You think I had something to do with this? GIBBS: Sit down. What happened at the officer's club, Sergeant? DAWSON: It was nothing, okay? Sun and Min go there all the time. Yoon just drops them off. This one time she went in and had a couple of drinks. She couldn't drive home so she called me. (PHONE RINGS) GIBBS: (INTO PHONE) Gibbs. MCGEE: (V.O./FILTERED) Boss.... TONY: At which point did you get into a verbal altercation with the two Marine Captains? DAWSON: They were drunk, okay? They were hitting on my wife. They tried to stop me from taking her home. What would you do, Sir? You think one of these Captains might have had something to do with this? Look, we're wasting our time! I'm telling you, I had nothing to do with this! GIBBS: I know that. Your alibi just checked out. The Sergeant was on duty at the time of the sht.(SFX: BABY CRIES B.G.) DAWSON: So what now, Sir? CUT TO: INT. SQUAD ROOM - DAY TONY: Three Korean women met and married Marines in Seoul at roughly the same time. Two of them are dad. Our prime suspect was locked up here when the third went missing. Think it's a racial thing? MCGEE: No. Definitely do not think that it's a hate crime. In my experience there's only one color in the Marines. ZIVA: From what I've seen of your Marine Corps it's very ethnically diverse. TONY: He means green, Ziva, and I think he's right. MCGEE: Well maybe it's a... maybe it's a Korean thing. Maybe something in their past. TONY: Like some kind of blood feud. Competing villages, ancient oaths, revenge from across the ocean. ZIVA: This is not one of your stupid action movies, Tony. TONY: No it isn't. If it was you'd be dressed differently. ZIVA: And you'd be far better looking. (McKEE LAUGHS) TONY: You'd be dad by the opening credits. (ZIVA LAUGHS) MCGEE: Did you ever stop to think that maybe I am the plucky comic relief? GIBBS: You find out what the hell happened to Yoon Dawson yet? (TO MCGEE) Plucky? MCGEE: Uh... well, Ziva and Tony and I ... TONY: We're just working on that, Boss. ZIVA: We're going through a list of anyone suspicious who had access to the base in the last two days. So far no solid leads. GIBBS: What about the Marine Captain Sergeant Dawson fought with? TONY: Both transferred out of Quantico last month. One is at Camp Pendleton, the other is in Okinawa. ZIVA: The two dad women lived insular lives. They spent most of their time together or with other Koreans. Yoon Dawson seems to be the only one who embraced American life. MCGEE: Any reason to believe that Sergeant Porter is still involved in this? TONY: He could have had an accomplice, Probie. GIBBS: He could have had three, DiNozzo! We need more information! MCGEE: Actually, Boss, Abby and I - we have been working on something. We gathered the women's phone records, credit card receipts, address books. Abby is cross-referencing to see if there's a pattern. GIBBS: DiNozzo, I want to know about anybody in the area who has made thrat against Koreans, foreign Marine wives, or women. TONY: Oh, is that all? On it, Boss! GIBBS: Find out about their lives before they married Marines. Come on, you're with me, Elf Lord. MUSICAL DISSOLVE TO: INT. LAB - DAY ABBY: It's amazing how much you can find out about someone without actually meeting them. For instance, me and these three women have absolutely nothing in common. They web-browse for cake recipes, gardening tips, and Min Crane has some weird obsession with stained glass. That's not even mentioning their music downloads. One word... Yanni. Good point. Who cares. Their schedules were pretty regulated. On Wednesdays and Fridays they trekked to Koreatown. They would shop for a couple of hours and then they'd have tea at Lee's Neighborhood Market. They alternated paying. It was Sun Porter's turn, by the way. MCGEE: Yeah, not exactly ground-breaking police work there. GIBBS: She's not done yet, McGee. ABBY: ABBY: Thank you, Gibbs. (CONT.) Within the last month, all three of them received regular phone calls from a pay phone located just outside Lee's Neighborhood Market. It is owned and operated by Lee Sung. He sells Korean delicacies, fruits and vegetables, and those cute little anime figurines with the funny faces. MCGEE: Oh, I love those! ABBY: Um... he also has a catering business - Lee's Delights. It's authentic Korean food. Very high end. All three women have worked for him as hostesses. And they were scheduled to work an event for him tomorrow afternoon. MCGEE: How do you know? ABBY: Because Lee's Sung emailed them the instructions. It's a Korean diplomatic event at the Pacific Rim Society. GIBBS: Tell me I didn't just smack McGee for no good reason. ABBY: You didn't smack McGee for no good reason. Last night, Yoon Dawson used her cell phone to call the pay phone outside Lee's Market. Two hours later? Bam! She's missing. Why is this important? Because someone is still using her cell phone to call that pay phone. MCGEE: Can we get a fix on the phone? ABBY: Negatory, McGee. I know it's somewhere in Annandale, Virginia, but they turn it off before I can get an exact location. The last phone call was an hour ago. GIBBS: McGee, I want a tap on that damn pay phone. Abby, I want to know who answers it. MCGEE: That's good work, Abs. (ABBY HITS MCGEE) MCGEE: Ow! What was that for? ABBY: For mocking my ground-breaking police work. MCGEE: I was not mocking you - it won't happen again. CUT TO: EXT. STREET - DAY TONY: (V.O.) Damn, I can't believe this. ZIVA: I don't really like waiting here either, Tony. TONY: No, Nick and Jessica broke up. I'm always the last to know. GIBBS: (V.O./FILTERED) Hey, DiNozzo! (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO RADIO) Shut up. (SCENE CUT) TONY: Shutting up, Boss. (PHONE RINGS) TONY: Hey Probie, are you getting this? (SCENE CUT) MCGEE: Yeah, got it, Tony. (SFX: KEYBOARDING B.G.) MCGEE: It's Yoon Dawson's cell phone again, Boss. GIBBS: I want a location, McGee. MCGEE: Whoever it is, they disabled the onboard GPS chip. (V.O.) So we're going to have to do this the old fashioned way. (ON CAMERA) Just take a moment to get a bead on the cell phone grid it's interfacing with. (SCENE CUT) TONY: We've got someone headed (V.O./FILTERED) to the phone, Boss. (SCENE CUT) LEE: (INTO PHONE IN KOREAN) Hello? Hello? (SCENE CUT) TONY: You want us to take him down now? GIBBS: (V.O./FILTERED) Negative. (SCENE CUT) GIBBS: Wait 'till we trace the call. LEE: (V.O./FILTERED IN KOREAN) Is someone there? Can you hear me? MCGEE: Okay, I've got the cell phone grid located. It's coming from this neighborhood. Somewhere on this street. (SCENE CUT) GIBBS: (V.O./FILTERED) You copy that, DiNozzo? TONY: Well, we're scanning for targets now. There are a lot of possibles. (SCENE CUT) LEE: (INTO PHONE) If you don't respond I'm going to hang up! YOON: (V.O./FILTERED) Don't. I have information for you. (SCENE CUT) ZIVA: Wool cap, head down, heading towards the pay phone. TONY: Got him. (SCENE CUT) LEE: (INTO PHONE IN KOREAN) Who is this!? Who is this? YOON: (INTO PHONE IN KOREAN) Turn around. ZIVA: (SHOUTS) Drop your wapon! (MUSIC OVER ACTION) (SFX: gn) TONY: Federal agents! Move! (INTO RADIO) It's Yoon Dawson, Boss. (SCENE CUT) TONY: (V.O./FILTERED) She's rabitting. GIBBS: (INTO RADIO) We're cutting her off, DiNozzo.(END TELEPHONE INTERCUTS) (MUSIC OVER ACTION) CUT TO: INT. ALLEY - DAY (MUSIC OVER ACTION) (SFX: CAR BRAKES TO A STOP) MCGEE: I know she didn't pass us!(SFX: DOORS OPEN) TONY: Where well the hell did she go? It's like she disappeared. ZIVA: She didn't disappear. It's her hat. She climbed her way out. (MUSIC OUT) MUSIC IN: INT. MARKET - NIGHT LEE: If I am here I answer the pay phone, Agent McGee. Many people in this community are poor. Can't afford phone service, so I take messages for them. You see, it helps them and it is good for my business when they come to pick up. MCGEE: Boss, did you find her? GIBBS: Yeah, McGee. She's hiding in my coffee cup. MCGEE: Uh... we didn't find her. (TO LEE) Just give us one second, please. GIBBS: Has he calmed down yet? MCGEE: Well, he's a little shaky but I think he's ready to talk. LEE: Min and Sun, they are dad? It's my fault. I take responsibility. I try to help people new to this country, find jobs for them, get them training, classes. Sometimes even loan money. GIBBS: You hired all three of them to work for your catering company? LEE: I did. I would notice when Yoon was tired, her accent would change. Sometimes she would use words not common in my country since the wr. GIBBS: Yoon-Sook Dawson wasn't South Korean. LEE: I began to believe that she was from the North. (LEE EXCLAIMS IN KOREAN) LEE: Perhaps a spy? MCGEE: Why didn't you go to the police? LEE: Well, I couldn't be sure. What if I was wrong? I asked Min and Sun to find out where she grew up, what schools she go to. Then I check her answers. Try to locate relatives from Korea. Nothing. GIBBS: Who else knew you were checking up on her? LEE: Just Min Crane, Sun Porter, and myself. MCGEE: She was trying to protect her cover? GIBBS: She failed. We're taking you into protective custody, Mister Sung. LEE: No. I will not hide. MCGEE: Mister Sung, she... she could come back. LEE: Let her. I am ready this time. I won't stop living my life because of people like her. MCGEE: Sir, I really don't think there is a-- GIBBS: Mister Sung, thank you for your help. If you think of anything else, give me a call. LEE: Yes, I will. And please thank your agents for me. MCGEE: Boss, you're not really going to let him just ... GIBBS: McGee, you know the FBI does not exist only to piss me off. Sometimes they can actually be useful. (INTO PHONE) Hey, Fornell, I've got one right up your jurisdiction. CUT TO: INT. SQUAD ROOM - DAY TONY: Like my father always said, be careful who you marry, Anthony. She may end up being a homicidal maniac. MCGEE: Your father actually said that to you? TONY: No, but I'm pretty sure he thought it. ZIVA: Probably he knew your taste in women. TONY: Abby's got active taps on Sergeant Dawson's cell, home and work phones, Boss. If she calls her husband again we'll know it. ZIVA: She won't. MCGEE: The FBI team shadowing Mister Sung is tied directly into MTAC. They're last report had him loading up a catering truck for a job. No sign of Yoon Dawson yet. ZIVA: It's highly doubtful she'll make another attempt on his life. TONY: We've got four agents providing surveillance on Dawson's house. ZIVA: She definitely won't be returning home. TONY: And how do you know this, Officer David? GIBBS: Because Yoon Dawson wouldn't. Now tell us what you would do. ZIVA: If I was Yoon, everything I've done up to this point was to protect my cover. I've dealt with the two possible thrat on base, and... TONY: If by dealt you mean gn down two defenseless housewives? ZIVA: And I attempted to deal with the third, but my cover was blown. I'm now only left with a few possibilities. GIBBS: You rush back to your country? ZIVA: Or carry out whatever mission I was assigned before I'm captured or klled. MCGEE: But she's been in the states for three years. If you had a mission, wouldn't you have carried it out by now? ZIVA: Not if I'm a sleeper, McGee. GIBBS: She could be here for decades before being activated. TONY: So tell us, Jane Bond, how do we track you down, huh? ZIVA: You don't, Tony. By now I've changed my appearance, I've replaced my identity with back-up documents and I've relocated. TONY: Promise? Okay, so that about wraps it up. Who's up for lunch? You might want to think about this, Boss, because I'm going to pay. GIBBS: No one's eating until we find Yoon Dawson. ZIVA: Gibbs, not that Tony couldn't stand to lose a little weight, but we'll all starve to death before that happened. She's playing it like I would. She's gone. GIBBS: There's one big difference between the two of you, Ziva. You don't have a baby girl. ZIVA: Most likely part of her cover or an occupational accident. GIBBS: It's more than that. ZIVA: How can you tell? GIBBS: My gut. Come on. You're with me. Let's go. TONY: Hey, Probie. Let me ask you a question. You don't think she was serious about the whole losing a few pounds thing, do you? MCGEE: Are you going to ht me if I tell you the truth? TONY: No, man. We're buds. MCGEE: Yeah. (TONY NITS MCGEE) CUT TO: INT. LIVING ROOM - DAY (SFX: BABY CRIES B.G.) DAWSON: My wife is not a spy, Sir. GIBBS: Her South Korean passport's a forgery. DAWSON: It's not possible, okay? Yoon loves this country. She knows more about it than I do. GIBBS: She was trained to. It's called a "honey trap." ZIVA: Her assignment was to meet an eligible serviceman, seduce him, and gain access into this country. DAWSON: Oh, yeah? Then why was she trying to convince me to leave the Marine Corps and go back to college? ZIVA: Most likely you were not part of the assignment. You were just a means to an end. DAWSON: Listen! Okay, I've lived with her for five years. She's the mother of my child, for God's sake! I'm telling you, there's no way. What's this? ZIVA: Your wife. DAWSON: No, that can't be real. GIBBS: It's real. DAWSON: Min Crane and Sun Porter? She klled them? Oh, my god. GIBBS: Has she tried to contact you? DAWSON: No. GIBBS: She's a foreign agent, Marine. You lie about this, it's treason. DAWSON: She hasn't. She hasn't tried to contact me, Sir. GIBBS: Okay, we think she might. ZIVA: If she does and you confront her, she will most likely kll you. DAWSON: I just... I just can't believe this. (PHONE RINGS) GIBBS: Go ahead. DAWSON: (INTO PHONE) Hello? YOON: (V.O./FILTERED) It's me James.(BEGIN TELEPHONE INTERCUTS) DAWSON: (INTO PHONE) Yoon, what the hell is going on? NCIS is here and they're telling me all sorts of things! YOON: (V.O./FILTERED) Don't speak. (SCENE CUT) YOON: (INTO PHONE) Just listen to me, okay? (SCENE CUT) DAWSON: (INTO PHONE) You need to come home now! (SCENE CUT) YOON: (INTO PHONE) It's too late for that. I've done things... terrible things. DAWSON: (V.O./FILTERED) I don't care, all right? (SCENE CUT) DAWSON: (INTO PHONE) Just tell me where you are and I'll come and get you. YOON: (V.O./FILTERED) There's one more thing that I need to do. (SCENE CUT) YOON: (INTO PHONE) I don't have a choice. I never had a choice. DAWSON: (V.O./FILTERED) Just tell me why. (SCENE CUT) DAWSON: (INTO PHONE) Please, sweetheart. YOON: (V.O./FILTERED) No matter what they say... (SCENE CUT) YOON: (INTO PHONE) What they tell you about me... know that I loved you with all my heart. That it was for real. And tell Rebecca... tell her Mommy is sorry for this. All of this. (SCENE CUT) DAWSON: (INTO PHONE) This is insane. Yoon, you can't do this! YOON: (V.O./FILTERED) I love you both so much, more than you can imagine. But... (SCENE CUT) YOON: (INTO PHONE) ... I can't let it happen. DAWSON: (V.O./FILTERED) Don't! Don't! Don't! Yoon, don't hang up! (YOON HANGS UP THE PHONE) (END TELEPHONE INTERCUTS) CUT TO: INT. LAB - DAY ABBY: I got her, Tony. She's at a pay phone in Annandale, Virginia. The corner of Raven Road and Lancaster Drive. TONY: Way to go, Abs. ABBY: It's kind of a weird place to be hiding out. There's nothing there except country clubs. TONY: Lee Sung's catering job? ABBY: The Pacific Rim Society. It's in Annandale! Either that's a coincidence or she really, really wants to kll this guy. TONY AND ABBY: (IN UNISON) I don't believe in coincidence. CUT TO: EXT. COUNTRY CLUB - DAY (MUSIC OVER ACTION) (SFX: YOON TAPS ON THE WINDOW) CUT TO: INT. COUNTRY CLUB KITCHEN - DAY LEE: (IN KOREAN) Take these inside. CUT TO: EXT. SERVICE ENTRANCE - DAY YOON: (IN KOREAN) Where is it? LEE: (IN KOREAN) No, Yoon. Don't sht! Don't sht, Yoon! CUT TO: EXT. STREET - DAY (MUSIC OVER CAR ACTION SCENES) CUT TO: INT. STORAGE AREA - DAY YOON: Where is it, Lee Sung? LEE: Have you no honor left, woman?! YOON: More than you. Scream and I kll you. (SFX: MUFFLED gn) (SFX: LEE GASPS) CUT TO: EXT. STREET - DAY TONY: (INTO PHONE) I found out why the FBI isn't responding, Boss. She's definitely here. GIBBS: (V.O./FILTERED) Keep looking, DiNozzo. CUT TO: INT. CAR - MOVING GIBBS: (INTO PHONE) I'm right behind you. (SFX: CAR TIRES SCREECH) CUT TO: INT. STORAGE AREA - DAY YOON: I will kll you if you don't answer this time. Where? LEE: In the truck. (SFX: DOORS BURST OPEN) GIBBS: Drop the wapon. YOON: There's a bmb set to go off in this building. If you kll me now, we all die. GIBBS: Put your wapon down. YOON: I was a North Korean operative. GIBBS: We kind of figured that part out on our own. YOON: The part that you don't know is that my cell included Sun Porter, Min Crane, and this man. LEE: She's lying! YOON: I swear on the life of my daughter that I'm trying to prevent this attck. ZIVA: And I swear if you don't release your wapon, I will kll you. YOON: The bmb is in his truck. Please, we may only have minutes left. CUT TO: EXT. SERVICE ENTRANCE - DAY (SFX: DOOR SLIDES OPEN) YOON: Now do you believe me? ZIVA: Can you disarm it? GIBBS: If I had a couple of days, maybe. You? ZIVA: I could try. I suggest not standing within five miles of here while I attempt it. YOON: I can. LEE: She put it there. She's trying to kll us all. TONY: They're evacuating the building, Boss. And the uh -- ah, it's a really big bmb. GIBBS: You think, DiNozzo? YOON: I didn't kll them to maintain my cover, Agent Gibbs. I did it to keep my family. I failed. LEE: She's a North Korean spy! YOON: Not anymore. At least let me prevent this. GIBBS: McGee, get Sung out of here. Get the cuffs off her. ZIVA: Gibbs! GIBBS: It's not a debate, Officer David. Go. Go on. Get out of here! All of you. Give me a clear distance away. I'll handle it from here. TONY: I don't care how hard you whack me, Boss. I'm not going anywhere. ZIVA: Nor am I. GIBBS: If we survive this, you're both fired. (MUSIC OVER ACTION/YOON BEGINS TO DISARM THE bmb) (SFX: BEEP TONES INCREASE) TONY: That's supposed to do that, right? (MUSIC OVER ACTION) (SFX: RAPID BEEP TONES) YOON: It's done. The bmb is no longer armed. CUT TO: INT. SQUAD ROOM - DAY (PHONE RINGS B.G. DAWSON: So what happens now, Sir? ZIVA: The FBI will take her into custody, Sergeant. DAWSON: And then prison? ZIVA: Your wife is an agent of a hostile power. It all depends what kind of a deal she can make. TONY: She was also responsible for bringing down an entire North Korean cell and saving hundreds of lives, Sergeant. I'm sure that will be taken into consideration, right, Officer David? ZIVA: Yes, of course. Her knowledge of the inner workings of North Korean intelligence should prove to be invaluable. GIBBS: Guys, give her a minute. YOON: I'm so sorry! I was trying to do the right thing. DAWSON: Everything you said to me on the phone... I believe it, Yoon. I'll always believe it no matter what happens. Come here. DAWSON: It's okay.(SFX: YOON CRIES) YOON: I'm sorry. DAWSON: I know. GIBBS: Let's go. (YOON AND DAWSON WALK O.S.) GIBBS: Tony, Ziva, what happened back there with the bmb, I want you both to know... TONY: You don't have to say it, Boss. We know how you feel about us. ZIVA: Gibbs, we're a team. That's what we do. GIBBS: I was going to say if either one of you two wingnuts ever disobey a direct order again, I'll kll you myself. TONY: That's our boss. (MUSIC OUT) (ENDING TITLES UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x14 - Light Sleeper"}	foreverdreaming
MUSIC IN: INT. CHOP SHOP - NIGHT (SFX: AUTO DRILLS/SAWS) RANDALL: Is it just me? Or are we getting faster at this? JONES: Faster's five cars in one night, newbie. You hear that?(SFX: CAR HONKS B.G.) RANDALL: Sounds like money to me. Now that's what I'm talking about!(SFX: GARAGE DOOR SLIDES OPEN) HOBIE: This baby is loaded! GPS Nav. kller sound. We're going to get three gees for these rims alone. JONES: More, if the spare's alloy. (bat) What?(DOOR OPENS) GIBBS: NCIS! JONES: Don't sht! Don't sht! ZIVA: FREEZE! TONY: Hands in the air! HOBIE: Okay. Okay. All right. All right. GIBBS: Cuff them! MCGEE: Against the car. Assume the position! HOBIE: Okay. Okay. TONY: The first mistake was stealing tools from the motor pool, geniuses.(PHONE RINGS) GIBBS: (INTO PHONE) Yeah, it's Gibbs. I need prisoner transportation for three. Get a hold of Metro P.D. since we busted them on their turf. ZIVA: Gibbs? The car's not the only thing they've been chopping here. (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) (FLASHES) FADE IN: EXT. CHOP SHOP - NIGHT "HEAD CASE" HOBIE: I swear we didn't kll anybody! Come on! It's not even our cooler! We had nothing to do with this! (DOOR CLOSES) (SFX: VAN PULLS AWAY) MCGEE: Do you believe him? GIBBS: They had a human head in the trunk of a car, McGee. What do you think? CUT TO: INT. CHOP SHOP - NIGHT TONY: First severed head? Mine was a motorcycle accident in Baltimore. I thought I was just picking up a helmet... ZIVA: (OVERLAP) Trust me, it's far worse when you know the person. TONY: You knew someone who was beheaded? ZIVA: A friend. He infiltrated a Hamas cell in Ramallah. Ah... they sent his head overnight express. TONY: I'm sorry. I didn't... ZIVA: That's when I decided that I'd...I'd never be captured alive. CUT TO: EXT. CHOP SHOP - NIGHT (DOOR OPENS) DUCKY: You did me a favor tonight, Jethro. Tonight is Smack Down night at the Mallard residence. Can you believe it? Mother's favorite television program. Wrestling. JIMMY: Mine, too! I love the WWE. DUCKY: I haven't the heart to tell her it's not real. Where's the body? GIBBS: Three sailors running the chop shop, Duck. We found it in the trunk. TONY: You're not going to need the gurney for this one, Palmer. DUCKY: Oh, my. Decapitation. CUT TO: INT. AUTOPSY ROOM - NIGHT DUCKY: A most ancient form of execution, which the French elevated to a public spectacle. JIMMY: The guillotine. DUCKY: La Grande Terreur. The French Revolution. Scissors, please. Actually, the hideous machine was invented by a doctor, Joseph Guillotine. He proposed his machine be used because it was a humane form of capital punishment. ABBY: That's ironic. DUCKY: Yes, I'd say. Although the guillotine is mostly associated with the French, the nzi's actually guillotined more people than the entire French Revolution. ABBY: That's pretty gruesome. DUCKY: Indeed. htler thought it was a demeaning form of punishment so he used it for political executions. ABBY: I was referring to the severed head, Ducky. DUCKY: Do you know how many people the nzi decapitated between nineteen forty-two and nineteen forty-three? ABBY: Um... no. DUCKY: Over twenty thousand. JIMMY: I never cease to be amazed by the depth of your knowledge, Doctor. DUCKY: Yes, well one thing we can say for certain... beheading is not the cause of this poor man's demise. Look at the tissue reaction. It isn't engorged with blood from the severed capillaries and veins. JIMMY: So he was dad before his head was removed? ABBY: And for what sicko reason do you keep it preserved on ice? DUCKY: I don't know. But it's going to make determining the time of death impossible. As to cause, well, without the rest of the body.... Perhaps you can make us an I.D. ABBY: Lay some tissue samples on me, Duckman. DUCKY: I knew there was a reason I invited you down here. Would you do the honors, Mister Palmer? I need to take care of the paperwork. JIMMY: So....white meat or dark? (bat) Inappropriate? ABBY: With a big dash of creepy, Jimmy. JIMMY: It's my delivery. I have to work on that. CUT TO: INT. SQUAD ROOM - DAY ZIVA: Who is Naomi Krutzhammer? One of your girlfriends, yes? TONY: I'm trying to read my email here. You mind? ZIVA: Not at all. I didn't know your nickname was honeybuns. GIBBS: Only Naomi and I call him that. TONY: Didn't think you were going to say anything about that, Boss. GIBBS: Who owns the car with the head in the trunk? TONY: We don't know yet. GIBBS: You're readying your email and you don't know yet? TONY: We traced the VIN to a Mercedes dealership in Riverdale, which sold it two weeks ago. The registration's temporary and hasn't been processed by the DMV. ZIVA: We called the dealership. They don't open for another twenty five minutes. MCGEE: The car's registered to an Epsilon Corporation. GIBBS: Thanks for sharing, Probie. MCGEE: I just found it. Had to hack into the DMV's processing computer. TONY: Is that legal? ZIVA: I doubt it. TONY: I wonder what the penalty is? GIBBS: Less than reading your emails on my time, honeybuns. MCGEE: Corporate address is in care of Sean Oliver, Attorney at Law. Two two five Sheraton Street. ZIVA: Phone number, McGee. GIBBS: When they answer the phone, what are you going to say, Officer David? Hey, we found your car. Anybody at Epsilon missing a head? Tony, take Ziva with you. Go. That's a good job, McGee. MCGEE: Thank you, Boss. GIBBS: Tony's right. Hacking is illegal. CUT TO: INT. OUTER LAW OFFICE - DAY TONY: I hate lawyers. ZIVA: I thought lawyers were an integral part of the American legal system. Defenders of civil liberties. TONY: This guy wouldn't know a civil liberty if he choked on it. You don't get an office like this working pro bono cases. ZIVA: You don't even know the man. TONY: I can tell you anything you need to know. ZIVA: Okay, what does he look like? TONY: The name "Sean" was popular in the nineteen sixties. I wonder why. That puts him in his forties. Probably has a comb over. Balding. Maybe even plugs. Shall I continue? ZIVA: Well, you're on a roll. TONY: Oliver. Old money. Esquire. Cheeseball pretentious. RECEPTIONIST: I'm sorry to keep you waiting. If you'll follow me, please? TONY: Count your fingers after you shake his hand. CUT TO: CUT TO: INT. LAW OFFICE - DAY SEAN OLIVER: (INTO PHONE) Okay, thanks. TONY: Of course, there are exceptions. SEAN OLIVER: So what can I do for NCIS today? ZIVA: I'm Special Agent DiNozzo. SEAN OLIVER: Nice to meet you. ZIVA: We recovered a stolen Mercedes registered at Epsilon Corporation at this address. SEAN OLIVER: Epsilon's a client. I'm sure they will appreciate finding their car. TONY: It's a little more complicated than that. Is it Mrs.? SEAN OLIVER: It's Ms. And please call me Sean. TONY: Sean. Pretty name. SEAN OLIVER: Thank you. TONY: You're a coach? SEAN OLIVER: No, not exactly. I do a lot of pro bono work for youth groups. ZIVA: The car may have been involved in some criminal activity prior to the theft, Ms. Oliver. We'll need to speak to your client about this. SEAN OLIVER: First define criminal activity. ZIVA: We're not prepared to disclose that kind of information right now. SEAN OLIVER: Then I'm sorry I can't help you. ZIVA: Why is that? TONY: Attorney client privilege. SEAN OLIVER: It prevents me from divulging any information without my client's permission. I'm ethically bound to protect their rights. ZIVA: Even if they may have committed a crime? SEAN OLIVER: If you believe that, you would have come here with a search warrant. ZIVA: Oh, we didn't think it was necessary. SEAN OLIVER: So I'll assume you'll try to get one now? TONY: Oh, yeah. Yeah. SEAN OLIVER: Great. Then I look forward to seeing you again, Agent DiNozzo. TONY: Tony. SEAN OLIVER: Tony. ZIVA: I hate lawyers. CUT TO: INT. INTERROGATION ROOM (DOOR OPENS/ CLOSES) MCGEE: Have a seat. HOBIE: I'm not saying anything 'till I get a lawyer. GIBBS: You're not here to talk, Petty Officer Hobie. You're here to listen. They said you jacked the car and they know nothing about what was in the trunk. Me? I believe them. MCGEE: It means you're screwed, Petty Officer. GIBBS: Agent McGee? Seven stolen cars in two weeks. What's he looking at? MCGEE: First offense? Let's see, seven to ten for theft. Another four to five for selling stolen property. So roughly twelve years. Maybe out in six with good behavior. GIBBS: What about carrying around a human head in an ice chest? MCGEE: Well, capital offense? With the gruesome nature of the crime? I'm thinking... life. That's if he's lucky. If not... GIBBS: The death penalty. HOBIE: Whoa, hey! I didn't know that was in there. Look, when you boost a car, you don't check to see what's in the trunk first! GIBBS: Where? HOBIE: It was in a parking lot. Chez Nude. It's a strip club in Anacostia. I took it around midnight. GIBBS: Did you see the driver? HOBIE: No. All I saw was the chrome. CUT TO: INT. LAB - DAY DUCKY: Yes, but are you absolutely positive? ABBY: Science doesn't lie, Ducky. DUCKY: No, but in my experience it often can be misleading. GIBBS: Abby. ABBY: Gibbs! Okay, so we have two questions for you. Where's my Caf-Pow? GIBBS: The machine was empty. Second question? ABBY: That's wasn't one of the questions. The machine's never empty. GIBBS: Abby? ABBY: According to the Armed Forces DNA registry, the head in the autopsy room belongs to Navy Captain Parker Wayne. GIBBS: You want to know how he died and why. ABBY: We know how and why. DUCKY: He suffered a fatal coronary infarction at Bethesda Naval Hospital four months ago. ABBY: So what is his head doing in the trunk of a stolen car? DUCKY: And where is the rest of his body? (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY MCGEE: Can't connect Captain Wayne to any of the three suspects, Boss. ZIVA: No common service, ship or base. If they had any contact, it wasn't through the Navy. GIBBS: You're asking me to believe a sailor jacked a car with a head in the trunk and he didn't know it? ZIVA: If the glue sticks? MCGEE: Shoe fits. GIBBS: DiNozzo! TONY: I'm with you, Boss. Our carjacker definitely knows more than he's telling us. We don't believe in coincidences around here, Ziva. GIBBS: However, we do believe in bad luck. You get the search warrant? MCGEE: Uh... Faith Coleman says that we need to petition for a preliminary injunction to compel Sean Oliver, Esquire, to give up the name of her client. GIBBS: So do it. MCGEE: Done it. I mean I did it. Since the Captain died of natural causes, it's going to take the judge a while to sign off on it. ZIVA: The lawyer drooled over Tony. Why doesn't he just sleep with her? (bat) What? It's a viable interrogation technique. GIBBS: I've done it. ZIVA: Me, too. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: There was no trauma to the head, no signs of cerebral hemorrhage. ROSS: The cause of death was definitely coronary inclusion, Doctor Mallard. Caused by arteriosclerosis. I took this when I performed the autopsy on Captain Wayne. DUCKY: Ah, Jethro. Special Agent Gibbs, Commander Ross, the M.E. who performed the autopsy on our Captain four months ago. ROSS: I must admit I've never been involved in anything this... strange. DUCKY: Remind me to show you some of our cases sometime. Last year we had a patient who spontaneously combusted, or so we thought. GIBBS: (OVERLAP) Are you certain heart attck was the cause of death? ROSS: Absolutely. Captain Wayne was pronounced dad on the operating table by one of our best heart surgeons. I performed the autopsy two days later. GIBBS: When you last saw the Captain... his head was attached? ROSS: (CHUCKLES) Of course. GIBBS: What happened to his remains? ROSS: At the request of the widow they were released to a mortuary. The uh...let's see... Vernon Family Mortuary. In Annandale, Virginia. (SFX: TELEPHONE BEEP TONES) MUSICAL BRIDGE TO: EXT. CREMATORY - DAY FLOYD VERNON: (V.O.) You'll have to excuse me, but I'm extremely shorthanded this afternoon, gentlemen. CUT TO: INT. CREMATORY - DAY FLOYD VERNON: My furnace operator didn't show up today. MCGEE: Mister Vernon, are those human remains? FLOYD VERNON: Were. Now they're just carbon and ashes, Agent McGee. Now what can I do for you? TONY: We're investigating a death. FLOYD VERNON: I figured as much. TONY: How's that? FLOYD VERNON: The only time I see cops around here is when they're on an official investigation or when, you know... you're customers. (SFX: DOOR SLIDES OPEN) TONY: Well, the customer we're interested in was here four months ago. (VERNON CLAPS HIS HANDS) FLOYD VERNON: Name? MCGEE: Ah, Captain Parker Wayne. FLOYD VERNON: Let's see... Wyatt, Winter, and Wayne. From Bethesda. He was cremated one hundred twenty two days ago. MCGEE: He was cremated? FLOYD VERNON: Yes. His wife asked for a Sea-rest urn with interior gold plated lining. Very high end. MCGEE: Sounds nice. TONY: Yeah, except for the fact that there's a piece missing, Vernon. FLOYD VERNON: Oh, what do you mean? MCGEE: Well, a part of his body has turned up. FLOYD VERNON: You mean like a body fragment or a bone fragment or a tooth? TONY: Actually, more like his head. FLOYD VERNON: A head? MCGEE: Found in a car trunk. TONY: We'd like to know how it got there. FLOYD VERNON: (READS) Remains picked up at seven forty five a.m. on the twenty fourth. He was cremated that evening, furnace two. Attending technician, Martin. TONY: Martin who? FLOYD VERNON: Broussard. TONY: Where is he? FLOYD VERNON: He didn't show up for work today, which is why I'm here instead of being out there where I'm needed. MCGEE: We're going to need his address. FLOYD VERNON: No need. I'll take you to his room. CUT TO: EXT. GROUNDS - DAY FLOYD VERNON: I can't believe I let him live on the grounds. MCGEE: For how long? FLOYD VERNON: Almost three years. This could ruin me. My family's been in the business for sixty three years. TONY: Anyone else licensed to operate these ovens? FLOYD VERNON: Furnaces, Agent DiNozzo. Just myself and Martin. (KNOCK ON DOOR) FLOYD VERNON: Martin, if you're in there, open up, damn it! (DOOR OPENS) CUT TO: INT. STORAGE ROOM - DAY TONY: Wait here. (MUSIC OVER ACTION/TONY MOVES INTO THE ROOM) (SFX: SCREEN OPENS) TONY: You thinking what I'm thinking, Probie? MCGEE: Yeah, we just walked into an episode of "The X Files." TONY: Open that up, Probie. MCGEE: No, you open it. TONY: Who's the senior field agent? MCGEE: Gibbs. TONY: In this room, who's the senior field agent!? Open it, Chucklehead! What is it? MCGEE: It's feet. TONY: I knew it. We're dealing with another Dahmer here. MCGEE: The pig kind. CUT TO: EXT. HOUSE - DAY (SFX: CAR BRAKES TO A STOP) GIBBS: Hi. What's your name? I'm Jethro. I'm here to talk to your mom. (KNOCK ON DOOR) CHRISSY: Did you know my daddy? GIBBS: No. No, I didn't. Not personally. CHRISSY: He's dad, you know.(DOOR OPENS) CUT TO: INT. LIVING ROOM - DAY JOCELYN: I had them on the mantle, but Chrissy would stare at them for hours. She couldn't understand how her daddy could fit inside a jar. Her therapist said it was probably unhealthy for her so... GIBBS: I understand that this must be tough for you, Mrs. Wayne. JOCELYN: Ashes are ashes, Agent Gibbs. Now what is this about? GIBBS: There may have been a mix-up. JOCELYN: These aren't my husband's ashes? GIBBS: No. No, they probably are. There just was a paper snafu at Bethesda. We need to verify it. JOCELYN: How can you do that? GIBBS: Teeth aren't totally destroyed during cremation. JOCELYN: I've been a Navy wife for close to twenty years, Agent Gibbs. NCIS agents don't investigate mix-ups, at least not agents as.... old as you. GIBBS: (LAUGHS)Well, we have a new director, Ma'am. A female director. Let's just say I'm not as politically correct as some of the younger agents. JOCELYN: What did you do to piss her off? GIBBS: Well, see, if she was more like you, then I wouldn't be sent out here to do a probie's job. Not that this isn't important. This is very important. I will handle the Captain's remains with the utmost respect, Ma'am. That's a promise. JOCELYN: What did you do? GIBBS: She overheard a conversation I had about physical-- CHRISSY: Where are you taking my dad? JOCELYN: Oh, Chrissy. It's okay. Agent Gibbs is a Marine. You know how much Daddy liked them. Twenty years in the Navy. I know a Marine when I see one, Agent Gibbs. GIBBS: As soon as this is verified, it'll be returned. JOCELYN: Our last command was a cruiser, the Manassas. They deploy for eight months next Thursday. Parks' last wish was to have his ashes scattered at sea by them. GIBBS: You'll have them back. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY (SFX: ZIVA BANGS ON THE DESK) ZIVA: I've ht a dad wall. Have any of you heard of the Nation of Nevis? MCGEE: No. TONY: It's in the Caribbean. ZIVA: I'm impressed. TONY: Well, if you're looking for the most attractive and convenient offshore corporate domicile, like my father, it's the place. ZIVA: That's where Epsilon's incorporated. It's a haven of confidentiality. I mean, they won't disclose the names of owners, officers, or directors. TONY: That's why the old man seems to like it. MCGEE: It sounds suspicious. ZIVA: I have a contact who can get me that info. GIBBS: Ziva, don't talk about it. Do it. ZIVA: Well, it's a delicate situation, Gibbs. Perhaps I should elaborate a-- MCGEE: (bat) Martin Broussard. Raised in New Orleans... TONY: (OVERLAP) Orleans, Boss. Barely graduated high school. Dropped out of... MCGEE: Junior college after only one year. GIBBS: Record? MCGEE: (bat) Ah, two DUIs and a -- TONY: Shoplifting charge. MCGEE: We got prints from his room. Abby is... TONY: Trying to match them from the Mercedes from the chop shop. ZIVA: You think Broussard could be Sean Oliver's client? TONY: No way. This guy's apartment makes McGee's look like The Four Seasons. MCGEE: Whoa, what is wrong with my home? TONY: Nothing that a bulldozer and a few coats of paint wouldn't fix. MCGEE: At least I wasn't afraid to open a cooler. TONY: I wasn't afraid to open a cooler. (SFX: GIBBS HITS TONY) TONY: I'm shutting up, Boss. CUT TO: INT. MTAC - DAY SHEPARD: Ziva.(DOOR CLOSES) ZIVA: Director. SHEPARD: What can I do for you? ZIVA: A favor. SHEPARD: You want to go back to Israel? ZIVA: No. I actually love it here. Gibbs is a great teacher. SHEPARD: You'll learn. He's like the Hope Diamond. A valuable gem....but it comes with a curse. ZIVA: Anyone I know in that car? SHEPARD: You know what they say. If you have to ask... CUT TO: INT. LAB - DAY ABBY: Hey, they refilled the machine! GIBBS: What are you doing? ABBY: It's been a long day. Yoga. Sirshasana. It increases the blood flow to the brain. GIBBS: I thought that's what this is for. ABBY: Ooh. That helps, too. GIBBS: I assume you're done. ABBY: With the ashes? Yeah. Since cremation destroys all DNA, then genetic fingerprinting of the cremains won't work. So I put them through a particle accelerator to try to ferret out any trace elements. GIBBS: And? ABBY: And I found calcium which is present in human bones, but no phosphorous. GIBBS: Which means? ABBY: There's really no foreplay with you, is there, Gibbs? GIBBS: What? Have you been talking to my ex-wives again? ABBY: The urn contained burnt wood chips, concrete, dust and pebbles. The ashes are bogus. (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - DAY TONY: Ask yourself what kind of guy lives in a coffin storage shed at a funeral home? ZIVA: Perhaps a poor one? TONY: I'd buy that except for the fact that it looks like this guy did an episode of "Trading Spaces" with Satan. What we need to figure out is why this guy decided to keep the man's head. MCGEE: And how it ended up in the trunk of the stolen Mercedes. ZIVA: Maybe he needed it for some sort of ritual. TONY: Or sacrifice. MCGEE: Witchcraft? TONY: Whatever you want to call it, Probie. ZIVA: I agree. Anyone so obviously fascinated with death has to be deeply disturbed on some level. I mean, take these masks, for instance. What kind of a person would collect such horrid-looking things? ABBY: Me. ZIVA: Of course, by horrid I mean, finely crafted and artistic. Good morning, Abby. ABBY: Hi. The masks are Ogu. They're used in tribal ceremonies in Africa. A friend of mine makes them. ZIVA: I see, and this? ABBY: Drapeau, or flag. It symbolizes the bridge between your spiritual and your earthly planes. I'm not an expert, but I would say that Martin Broussard is in to voodoo big time. MCGEE: So it is witchcraft. ABBY: No, McGee, it's voodoo. MCGEE: What's the difference? TONY: Haven't you ever seen Voodoo Island with Boris Karloff? The Believers? Martin Sheen? Serpent and the Rainbow? Sleepless in Seattle. ZIVA: That was about voodoo? TONY: No, but the first time I saw It, it scared the bejeesus out of me. GIBBS: Is that a fact, DiNozzo? TONY: Yes, Sir. We think we just had a major breakthrough in the case. GIBBS: You found Broussard? TONY: No, not exactly. GIBBS: You got the warrant to search the law offices? MCGEE: Not yet. GIBBS: Your contacts found out who owns Epsilon Corporation? ZIVA: They haven't gotten back to me yet. TONY: In retrospect, "major" may have been overstating things, Sir. I'm sorry. GIBBS: What, Abby? You have to go to the bathroom or do you have something to say? ABBY: I do. But that's not the point. Ducky and I might have found something that's min-jor. It's maybe not major, but it's more than minor. CUT TO: INT. LAB - DAY GIBBS: Hey, Duck, are you saying Captain Wayne was used in some kind of sacrifice? DUCKY: I'm just saying it's a possibility, Jethro. ABBY: We found traces of blood on three of the knives from Martin Broussard's room. DUCKY: All three came back the same type. ZIVA: Captain Wayne's? ABBY: Nope. Chicken. DUCKY: (OVERLAP) Chicken. Well, it's not an uncommon substance to find at a voodoo ritual. GIBBS: Yeah, or at a KFC. What else? ABBY: Patience, Gibbs. I ran the fingerprints from the Mercedes, the cooler in the back of the car, and Martin Broussard's room. They're all the same and they're all his. TONY: Broussard stole the Mercedes? ABBY: Either that or he just really likes to touch stuff. CUT TO: INT. SQUAD ROOM - DAY MCGEE: (INTO PHONE) Okay, I'll let Gibbs know. Thank you. SHEPARD: Let Gibbs know what, Agent McGee? MCGEE: Uh... that Captain Wayne's widow is on her way up, Director. SHEPARD: How much does she know? MCGEE: Uh, I'm not sure, Ma'am. Gibbs returned with the cremains, but I don't know what he said to get them. SHEPARD: Let's hope he didn't say that we found her husband's head in the trunk. MCGEE: I don't think that - would he? SHEPARD: Have you gotten the warrant for Sean Oliver's law office? MCGEE: Still working on it, Ma'am. I've put several cars into the Assistant U.S. Attorney's office, but they're dragging their feet. SHEPARD: I expected they would so I made a personal call to the Attorney General's office. Here's your warrant. You can close your mouth, Agent McGee. It's not that impressive. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) SHEPARD: Get Gibbs. I'll escort Mrs. Wayne from here. AGENT: Yes, Ma'am. SHEPARD: Special Agent Gibbs is on his way. I.... JOCELYN: Did he make a positive identification? SHEPARD: A positive identification... of your husband's cremains? CUT TO: INT. ELEVATOR - DAY GIBBS: I want the remains verified for every body Broussard was supposed to burn. TONY: Not a problem, Boss. What do we tell the families? GIBBS: Depends on what we find. ZIVA: You think he's done this before? GIBBS: The guy's cutting up chickens and carrying heads around in coolers, Ziva. I don't know. What's your gut tell you? ZIVA: Well, I never want to be cremated. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) CUT TO: INT. HALLWAY - DAY MCGEE: Whoa! Whoa! Sorry, Boss. Uh... one, got the warrant. GIBBS: Good job, McGee. Tony, you're with me. MCGEE: Uh, Mrs. Wayne is here and Director Shepard is with her. CUT TO: INT. SQUAD ROOM - DAY JOCELYN: He said the paper mix-up could be resolved with my husband's teeth. SHEPARD: If Special Agent Gibbs told you that, I'm sure it's the truth. He's one of the most knowledgeable agents I've ever worked with. JOCELYN: I had that impression. I'm glad he was assigned this, even if it is punishment. SHEPARD: Punishment? JOCELYN: The new Director has it in for him. SHEPARD: He told you that? JOCELYN: Well, I've seen it before when Parker was X.O. for one of the first female ship Captains. Ooh! The woman was a nightmare trying to prove herself. SHEPARD: Special Agent Gibbs, I didn't know the new Director was punishing you. She always seemed very fair to me. JOCELYN: Well, you're a woman. She doesn't have anything to prove to you. SHEPARD: How about you? What do you think? Do you think the new Director is reasonable? ZIVA: Very. GIBBS: Why are you here, Mrs. Wayne? JOCELYN: Have you made a positive identification? GIBBS: Lab's working on it. JOCELYN: I'm sorry to be troubling you. GIBBS: No trouble at all. JOCELYN: The Manassas has been put on alert to sail early. GIBBS: How early? JOCELYN: Tuesday. I have to have Parker's ashes there by Monday night. I don't want to wait another year to honor my husband's last wish. GIBBS: I'll do my best. SHEPARD: You'll have your husband's ashes by Monday, won't she, Agent Gibbs? GIBBS: If you say so. (SHEPARD WALKS O.S.) JOCELYN: She isn't the new... GIBBS: Uh-huh. JOCELYN: Oh. CUT TO: INT. OUTER LAW OFFICE - DAY TONY: Hi. Nice to see you again. NCIS. We have a search warrant. RECEPTIONIST: Go right on in. Ms. Oliver has been expecting you. (DOOR OPENS) CUT TO: INT. LAW OFFICE - DAY SEAN OLIVER: That was fast. GIBBS: It gives us the right to search the premises for every and all documents pertaining to Epsilon Corporation. SEAN OLIVER: I think you'll find everything you need in those boxes. Your Director is not the only one with friends in the U.S. Attorney's office. You have the papers so I can't stop you, but I do think this is overkill for a stolen car. GIBBS: Actually, we're more interested in who was driving it before it was stolen. SEAN OLIVER: Why? GIBBS: Oh, I'll make you a deal. You tell me who runs Epsilon Corporation, I tell you why. SEAN OLIVER: Unfortunately I can't make deals without consulting my clients. TONY: You make the call, Sean. SEAN OLIVER: At least give me a clue as to what it is we're dealing with here, Tony. Was it drugs? TONY: More along the lines of human sacrifice. CUT TO: INT. SQUAD ROOM - DAY ZIVA: She's had twenty four hours to cleanse these files. What are we hoping to find? MCGEE: Names of employees and addresses. ZIVA: We might get through this by the end of the month if you actually helped us, Tony. TONY: I'm supervising. ZIVA: Hi, Gibbs! TONY: Nice one. GIBBS: Yeah, it is. TONY: Hey, Boss, I was just about to call you. GIBBS: What a coincidence. I'm just about to put my boot up your-- TONY: I got a lead. Found an electric bill in one of the boxes. An industrial space in Anacostia. Three miles from the strip club where the Mercedes was stolen. GIBBS: Ziva, McGee, go check it out. Tony? Go on. Supervise. MUSICAL BRIDGE TO: INT. ALLEY - DAY TONY: It doesn't look like anybody's here. (KNOCK ON DOOR) MCGEE: All right, what do we do? TONY: Well, at least we have a warrant. ZIVA: Right. MCGEE: Uh, no. Not really. TONY: What is your problem, Probie? MCGEE: Well, the warrant only covers Epsilon's files. TONY: Can you see inside that window? MCGEE: You know that I can't. ZIVA: So for all you know, there could be files in there, yes? MCGEE: Technically, yes. But we could be obfuscating the warrant. TONY: You know what that means? ZIVA: No, not at all. TONY: Good. Neither do I. Pick the lock. Obfuscating. What sort of knucklehead uses a word like obfuscating? Pickle head. Nice work, Ziva. MCGEE: Tony? TONY: Two to one you lose, Probie. (SFX: DOOR OPENS) (SFX: ALARM B.G.) MCGEE: A bad idea! TONY: What? MCGEE: It's a bad-- CUT TO: INT. WAREHOUSE - DAY TONY: I wonder what they do in here?(SFX: DOOR SLIDES OPEN) MCGEE: We should not have broken in here. TONY: What? MCGEE: We shouldn't have broken in here! TONY: If you want to be a crybaby, why don't you wait outside for the police? MCGEE: What are we going to tell them?(DOOR OPENS) ZIVA: Might be easier to show them. (MUSIC UP AND OUT) FADE IN: INT. WAREHOUSE - DAY (FLASHES) TONY: You know what this place reminds me of? ZIVA: One of your stupid voodoo movies? TONY: No. My Uncle Vincenzo's shop on Long Island. He's a butcher. MCGEE: Yet another reason why I'm considering becoming a vegetarian. TONY: We may need a couple extra gurneys on this one, Palmer. GIBBS: How many are we looking at, Duck? DUCKY: Based upon size, skin tone, and gender difference, there are at least partial remains of six cadavers in here. GIBBS: This isn't voodoo. DUCKY: I agree, based upon the surgical skill in which they were dissected. You've found yourself another chop shop, Jethro. Only instead of automobiles being harvested.... GIBBS: Body parts? Do any of these parts belong to Captain Wayne, Duck? DUCKY: Oh, Jethro, please. CUT TO: INT. LAB - DAY ABBY: So how grisly was it? ZIVA: Not bad. TONY: Shelves lined with body parts is not bad? ZIVA: At least they were surgically removed. TONY: Yeah. ABBY: Were all the bodies supposed to be cremated? TONY: I don't know. ZIVA: McGee's getting the mortuary records for the last few months. ABBY: I do not know why anyone would want to be cremated. ZIVA: Do you really want to be stuck in the ground? TONY: She already has a coffin. ZIVA: Oh, no! ABBY: I just want to know that the rest of my body parts, after I donate whatever I can to science, are going to rot for eternity in a familiar place. ZIVA: How about you, Tony? TONY: Ah, slow rot or the fast burn? Hm.... Neither please, thank you very much. ABBY: What's your alternative? TONY: Ted Williams. Cryogenics. SHEPARD: Appropriate under the circumstances, Agent DiNozzo. They only thing Ted Williams had frozen was his head. Here's the information you were looking for. The principal and sole shareholder of Epsilon Corporation. ZIVA: Sean Oliver! Now I really do hate lawyers. Thank you, Director. SHEPARD: Glad I could be of help. (bat) Is something wrong? TONY: Oh, I was just wondering if Gibb's knows whose Ziva's secret contact is. SHEPARD: We had a saying in Europe. Whatever Gibbs doesn't know... TONY: Can't hurt him. SHEPARD: No. Can't hurt us. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: It would appear they were all dissected by the same individual, Jethro. It's the direction that the incisions were made. Look. Straight cuts are normally canted to the right due to the position of the scalpel in the right hand. All of these were canted in the opposite direction. GIBBS: We're looking for someone that's left-handed. DUCKY: Precisely. GIBBS: Any idea which ones are Captain Wayne's? DUCKY: We're taken tissue samples of the individual parts, and prints from the hands. And we'll try to assemble Captain Wayne where we can. GIBBS: I've got less than two days, Duck. We told his wife we'd return his ashes by Monday. DUCKY: I could bring in another M.E. to help. GIBBS: Yeah, yeah. Do it. ZIVA: My contact came through, Gibbs. The client Sean Oliver was protecting was... GIBBS: Sean Oliver. ZIVA: Tony and McGee are picking her up. GIBBS: Not bad, Officer David. ZIVA: Well, I do what I can. GIBBS: When you see the Director, thank her for me. CUT TO: INT. OBSERVATION ROOM - DAY SHEPARD: (V.O.) There's a reason you couldn't find her anywhere last night, Jethro. (ON CAMERA) She was meeting with the District Attorney's office... cutting a deal. GIBBS: What kind of deal? SHEPARD: More than she deserves. Do you think it would be inappropriate if, as Director, I went in there and smacked that smile off her face? GIBBS: Yeah, it would. But that's what you have me for. (DOOR OPENS/ CLOSES) CUT TO: INT. SQUAD ROOM - DAY TONY: (INTO PHONE) Thank you very much, Ma'am. (TO ZIVA) That was one of Martin Broussard's elementary school teachers. ZIVA: What could she possibly tell you that's relevant to this case? TONY: A lot, Ziva. Slow learner. Troublemaker. Not real big on oral hygiene. ZIVA: That's fascinating, Tony. And this helps us find him how? TONY: It doesn't. But at least we now know he's left-handed. (PHONE RINGS) ZIVA: (INTO PHONE) Officer David. ABBY: (V.O./FILTERED) I got something for you guys. ZIVA: (INTO PHONE) On our way. (TO TONY) Abby found something. CUT TO: INT. INTERROGATION ROOM GIBBS: His name was Captain Parker Wayne. He was married. Had a nine year old daughter who just worshiped the ground he walked on. SIMON KATZ: My client admitted her involvement in the sale of illegal body parts already, Agent Gibbs. GIBBS: His last request was to have his ashes scattered at sea. What would you like me to tell this little girl, Ms. Oliver? That that can't happen because you wanted to join the more expensive country club? SEAN: This was never about money. SIMON KATZ: Sean, he's baiting you. SEAN: Let him, Simon. The deceased were to be cremated. By supplying their bodies for medical research, advances were made to benefit the living. GIBBS: Any profits you made were just incidental, right? SIMON KATZ: Part of my client's plea agreement is to make financial restitution. GIBBS: Your client was carving up dad people and selling parts like meat. Where's Martin Brousaard? SIMON KATZ: Not part of our arrangement. GIBBS: I've got the parts to six different bodies downstairs. She is not going anywhere until I I.D. them. CUT TO: INT. SQUAD ROOM - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) ABBY: Where's Gibbs?! TONY: Interrogation. Why? ABBY: I found him! MCGEE: We! We found him! ZIVA: Found who, Abby? ABBY: Martin Broussard. CUT TO: INT. INTERROGATION ROOM (DOOR OPENS/ CLOSES) GIBBS: We located Martin Broussard. SIMON KATZ: Then you have no further need to question my client. GIBBS: We have him downstairs in autopsy. SEAN: To identify the bodies? GIBBS: Nope. SIMON KATZ: Sean. They can do whatever... GIBBS: He's one of them. SEAN: Martin is dad? I don't know anything about it! Simon? GIBBS: We found his body parts in your building. The only thing we can't locate, it seems, is his head. I think your deal with the D.A. just went south. SEAN: I didn't kll him! GIBBS: If you didn't... you know who did. SIMON KATZ: As your lawyer, I advise you not to answer any more questions, Sean. SEAN: A man was mrder here, Simon! Vernon supplied the bodies. Martin was... was just a delivery man. They must have thought he was too weak to stand up to an investigation. GIBBS: They? CUT TO: INT. AUTOPSY ROOM DUCKY: I appreciate you volunteering to help, Doctor Ross. ROSS: Anything to get out of Bethesda for a couple of days, Doctor Mallard. JIMMY: Where do you want this one, Doctor? DUCKY: Oh, uh.... ROSS: Is that what this is all about, the body parts? DUCKY: It would appear that way. ROSS: It's understandable. That arm alone would be worth a fortune. JIMMY: Really? DUCKY: Pharmaceutical and medical instrument firms would pay vast sums for cadavers. JIMMY: Where do they get them? DUCKY: The willed body programs. Universities. But the need far outstrips the supply. ROSS: A human body can be worth as much as two hundred thousand dollars. JIMMY: Well, how much do you suppose just a little arm would be? DUCKY: A lot. It's not unlike car theft. A vehicle stripped and sold for parts is worth far more than when it's whole and harder to trace. Table two. JIMMY: Wow. This could pay off my college loans. DUCKY: Don't give me cause to check your car trunk tonight, Mister Palmer. Oh, um... we haven't yet determined the cause of death of this poor man. Would you care to open? ROSS: Oh, my pleasure, Doctor. DUCKY: I suppose you'll tell me you didn't do it for money. ROSS: Excuse me? DUCKY: Dissecting these bodies.(SFX: DOORS SLIDE OPEN) ROSS: What.... what would ever make you think that? DUCKY: By the way you used this. SEAN: They know, Ross. ROSS: What? I...I admit the money was good, but... my intent was to help people. GIBBS: Is that so? ROSS: Yes. I don't care whether you believe me or not. As long as you do, Doctor. GIBBS: Before you buy this, he mrder Broussard. ROSS: No! No, I didn't! SEAN: The hell you didn't! ROSS: She presented his body to me as a fait accompli! SEAN: I did not! GIBBS: I don't give a damn which one of you did it! DUCKY: Well, I do. GIBBS: Tony, get them out of here. ROSS: Scum ambulance chaser! If you think for one minute I'm going to take the rap... SEAN: (OVERLAP) Stop lying! For once in your life tell the truth!? ROSS: (V.O.) It was all your idea. (SEAN AND ROSS WALK O.S.) DUCKY: Mister Palmer, would you leave us alone a minute, please? Jethro, you do realize that Captain Wayne's remains are considered evidence in this case. GIBBS: Ah... DUCKY: Well you can't possibly be considering cremating them in time to give them to his widow. Right. I'll go with you to the crematorium. CUT TO: INT. LIVING ROOM - DAY JOCELYN: Chrissy was really starting to worry. But I told her that Marines always keep their word. Sweetie, go get changed. We have to leave for the ship soon. CHRISSY: Okay, Mommy. JOCELYN: And put the dress on that Daddy brought from France. He loved you in it. (CHRISSY WALKS O.S.) JOCELYN: Are those my husband's ashes? GIBBS: Yes, Ma'am. I give you my word. It would be my pleasure to escort you and your daughter to the ship. JOCELYN: Um... the Navy's sending a car, but thanks. (SFX: KISS) JOCELYN: Thank you, Agent Gibbs. And Parker would never forgive me if I didn't say... semper fi. GIBBS: Fair winds and following seas, Ma'am. (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x15 - Head Case"}	foreverdreaming
FADE IN: EXT. HOSPITAL LOADING AREA - DAY BIELSMAN: When you say you're sure, how sure are you? PATTERSON: Sure enough, that if you don't ask her out by tomorrow, I'm gonna start spiking your coffee with testosterone, man. BIELSMAN: Yeah, but what if you're wrong? PATTERSON: J.B., trust me. The girl's into you. BIELSMAN: Be careful! PATTERSON: Oh, relax. This guy's a Marine. Or at least he was before he deployed himself through his windshield. BIELSMAN: So what do I say to her? PATTERSON: I don't know. What do I look like, the Cyrano what's-his-face guy? Go with your gut. You got the release? BIELSMAN: Didn't you get it? PATTERSON: You know, on second thought, maybe you better not go with your gut. (SFX: VAN DOORS CLOSE) (SFX: VAN ENGINE ATTEMPTS TO TURN OVER) BIELSMAN: So where should I take her? PATTERSON: I'm going to start charging for advice, you know. Oh, there she is. Do you smell that? (SFX: VAN ENGINE STARTS) BIELSMAN: Gas. (SFX: VAN STOPS) BIELSMAN: Oh, no. (SHOUTS) Get out! Get out! Get out! Go! Go! Go! Go! (MUSIC OVER ACTION/EMTS RUN FROM THE VAN) (SFX: HUGE explsin) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES / CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "FAMILY SECRETS" (SFX: COMPUTER DING TONES/ KEYBOARDING) ZIVA: What are you doing? TONY: I'm in the middle of a very serious negotiation. ZIVA: On McGee's computer? TONY: I know where you're going with this and the answer's yes. ZIVA: Then what's the question? TONY: Have I no shame? ZIVA: Who are you IMing? Agent Larsen? And she thinks you're McGee? (CHUCKLES) And this is because she warned you that if you spoke to her again, she would have you brought up on sexual harassment charges? TONY: That was a misunderstanding. ZIVA: Oh, so now you're correcting the record. TONY: I'm just trying to let her know that I... McGee feels that she may have misjudged me. And, that as a close, personal friend, I can-- ZIVA: Vouch for Tony's strength of character.(SFX: ZIVA LAUGHS) TONY: I don't have much time. She's being reassigned in two days. ZIVA: Yeah, well you'll be reassigned if Gibbs catches you. GIBBS: Doing what? ZIVA: We were looking at McGee's bookmarks, trying to get an idea for a... TONY: Birthday present? MCGEE: Morning. TONY: Happy birthday, Probie. Have a bagel. MCGEE: It's not my birthday. GIBBS: Grab your gear. Medical transport just exploded. (SFX: KISS) TONY: Any day now, Probie! MCGEE: Yep. Sorry. I just got the strangest IM. CUT TO: EXT. PARKING LOT - DAY TONY: (V.O.) She asked you out? You?! MCGEE: Trust me. I'm just as surprised as you are. TONY: Trust me. You're not. ZIVA: Blast radius indicates a low-yield detonation. TONY: Did she say why? MCGEE: Ah, it said that she liked the loyalty I showed my coworkers. ZIVA: Pyrolysis on the pavement suggests an oh-two was the primary accelerant. MCGEE: Even if they were total scum. I have no idea what she was referring to. I'll tell you, though. I did not realize she was paying so much attention to me. TONY: Do you want to tell the Probie or should I? ZIVA: How about neither? Why don't you just focus on the work? TONY: Yeah. I noticed you've morphed into quite the forensic expert. ZIVA: I'm Israeli. This isn't my first exploding ambulance. CUT TO: EXT. PARKING LOT - DAY PATTERSON: We left the van unattended four, maybe five minutes, tops. BIELSMAN: As soon as Patto ht the brakes... PATTERSON: The whole thing exploded into flames. BIELSMAN: I think someone's trying to kll us. PATTERSON: Would you please stop that, JB? It was... it was an accident. GIBBS: Who's trying to kll you? BIELSMAN: Who knows? There's a lot of weirdos out there. GIBBS: Tell me about it. Talk to me, Duck. DUCKY: Lance Corporal William Danforth, Junior. Survived IEDs in Iraq, RPGs in Afghanistan. Unfortunately, the local odocoileus virginianus was too much to bear. JIMMY: That's a white-tailed deer... GIBBS: Yeah. I know. Are you saying Bambi klled this Marine, Ducky? DUCKY: No. But swerving at sixty miles an hour into a tree to avoid Bambi did. JIMMY: His girlfriend is still in a coma at the hospital. DUCKY: Danforth was D.O.A. when they brought him in last night. This morning he was on his way to Bethesda for a routine autopsy when fate intervened. GIBBS: Fate? DUCKY: No, the scorching of the body is consistent with a gasoline fre accelerated by onboard oxygen. This could have been an accident, Jethro. Lucky for those two to get out. GIBBS: Yeah. Lucky in a way I don't like. CUT TO: INT. SQUAD ROOM - DAY TONY: (SINGING) Good morning. Good morning! Good morning. Good... good morning, to you! You! You! You! Good - ooh. What's that? (SFX: BEEP TONE) ZIVA: Looks like an iPod. TONY: iPod photo. ZIVA: Anyone who might have possibly had a motive to try to kll them... TONY: Either has an alibi or is out of town. Way ahead of you. ZIVA: You could have told me and saved me the trouble. TONY: Just say you need the practice and leave it at that. What kind of music does the McGee listen to? Ooh, Barry Manilow. Julie Andrews? Zamfir? Let's go to photos. ZIVA: What are you doing? TONY: Well, McGee had a date with Agent Larsen last night. He didn't return any of my emails about a sit-rep. But maybe he took some photos. ZIVA: Those are his private photos. TONY: Well, he left them on his public desk. Oh! Where's the clicker? Ah, who is this? ZIVA: Well, it's definitely not Agent Larsen. TONY: It's gotta be his sister. ZIVA: Why? TONY: Are you kidding? This girl's way out of McGeek's league. ZIVA: I don't think the drivers were the target, Tony. Um... I actually think it was the body. TONY: Why blow up a dad guy? GIBBS: Put it back up there. TONY: Put what back?(SFX: GIBBS HITS TONY) GIBBS: McGee's got good taste. Going for coffee.(SFX: GIBBS HITS ZIVA) ZIVA: Ow! What was that for? GIBBS: Alerting DiNozzo. CUT TO: INT. NCIS GARAGE - DAY ABBY: The fuel line to the gas tnk cap was ruptured here. Torn by a loose belt on the differential housing. GIBBS: Loosened how? ABBY: Unknown. The van also had a short in the electrical system. Coincidentally in the taillight right by our ruptured fuel line. GIBBS: You know how I feel about coincidences, Abs. ABBY: Equatorial pygmies know how you feel about coincidences, Gibbs. So one would wonder... accident or not an accident? That is the question. Our first player... an innocent differential housing bolt that is rubbing and straining on the molecular bonds of our vulcanized fuel line. Until, after eons, our hapless hose finally ruptures. The gas moves quickly into the floorboard of the van when it's in motion. The driver smells it... what could it be? He hits the brakes, and the short in the taillight ignites the pooling gas vapors! The flames quickly super-heat the onboard oh-two and when the canisters can no longer contain the growing pressure... KABOOM!` GIBBS: Not an accident. ABBY: Not unless that Angel of Death is going through a Rube Goldberg stage. MCGEE: Boss, we found remnants of what may have been the trigger on an oh-two canister. GIBBS: May have been, McGee? ABBY: There were traces of mercury fulminate, sodium azide and tetryl on the material. GIBBS: Blasting cap. MCGEE: The oh-two would never have blown on its own. The fre wasn't hot enough. ABBY: The perp rigged the transport to make it look like an accident. MCGEE: And he might've gotten away with it if he'd detonated it sooner. The fre dispersed pieces of the trigger. GIBBS: He waited for the drivers to get out. MCGEE: So he's not a mrder. At least, he wasn't trying to kll the ambulance drivers. GIBBS: Trace it. ABBY: Gibbs, this is a garden-variety laminated paper substrate! It's used as a cheap shielding in thousands of electronic devices! GIBBS: Yeah, so? ABBY: So maybe I should get back to work? GIBBS: Did we get a positive match on our Marine's DNA? ABBY: You know, I've been a little busy here, Gibbs, with all the rubbing and the looking and the analyzing and the.... I should mention that Ducky is taking care of it. (SFX: ELEVATOR DOORS CLOSE) DUCKY: (V.O.) I haven't seen a body this... CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: ....badly brned since the Bertram Mill's Circus. Specimen jar. Mister Palmer? JIMMY: Sorry, Doctor. I'm just having a problem with this smell today. DUCKY: Really? I think he smells like my mother's fried chicken. JIMMY: That would be the problem. DUCKY: Oh, I see. Well, the vegetarian lifestyle has been medically proven to be the healthiest of choices. Perhaps it's time you made the jump. (SFX: DOORS SLIDE OPEN) GIBBS: You wanted to see me, Duck? DUCKY: Well, actually, yes, Jethro. GIBBS: Then why do you look surprised to see me? DUCKY: Because I haven't told you that, that I wanted to see you. Yes. Well, our... our latest houseguest has thrown us quite a little mystery. GIBBS: Define mystery. DUCKY: Yeah, well, the young lad's death certificate lists blunt force thoracic trauma as the cause of death - typical in motor vehicle accidents. But I've only partially been able to verify that. Since, as you can see, the post mortem damage is extensive. GIBBS: Ducky? DUCKY: Yes? GIBBS: Mystery? DUCKY: Of course. Well, you know me, Jethro. I attempted to make an identification myself. The blast destroyed his jaw and shattered his teeth. It would take an inordinate amount of time to get an identification from dental records. Also, the fre so degraded his DNA that, you know, I spent the better part of yesterday scouring his body. GIBBS: Mystery. DUCKY: Ah... almost there. By a stroke of luck, I found a piece of tissue viable enough to send to have run against Danforth's DNA, at the Armed Forces Repository. GIBBS: This isn't William Danforth, Junior. DUCKY: Uh-uh. GIBBS: Then who is this? DUCKY: That, my dear Jethro, is the mystery. (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY ZIVA: Lance Corporal Danforth's pro and cons were five oh five oh. A real squirreled-away Marine. So what'd you find, Tony? (SHOUTS) Tony! TONY: Huh? Zamfir. It's the Master of the Pan Flute. It's helping me think. ZIVA: What are you thinking? TONY: I'm thinking that there are a lot of reasons for post-mortem mutilation you're over-looking, besides hiding a suspicious cause of death. ZIVA: Such as? TONY: Such as enraged acts of volence, sadistic curiosity. GIBBS: Trying to hide the real identity of the victim. TONY: That was the next one on my list. ZIVA: Is his identity in question? GIBBS: Yeah, it is now. Tony, get me a copy of that-- TONY: The names of the cops who processed Danforth's crime scene report. Already on its way, Boss. GIBBS: Ziva, take me through-- ZIVA: Have a chat with the doctor who pronounced the body dad. Find out who made the I.D. TONY: TONY: Hey, you want me to go and supervise that, Boss? Actually, no, I'll stay here just in case you need me. (CONT.) Ooh! Zamfir. I'm not saying you need me. That's a bad word. Need's the wrong word. Oh! Uh, the Director needs to see you in her office ASAP. MUSICAL BRIDGE TO: INT. OUTER OFFICE - DAY (DOOR OPENS) (SFX: TELEPHONE BEEP TONES) CYNTHIA: I was just going to tell the Director you're here. GIBBS: Cynthia. Did you know that when a Roman emperor made a triumphal march into Rome, he had a slve on his chariot who... CYNTHIA: Who whispered, "You're only human" into his ear? GIBBS: Going in unannounced is whispering into her ear. CYNTHIA: So you're the Director's slve? (DOOR OPENS) CUT TO: INT. SHEPARD'S OFFICE - DAY SHEPARD: Cynthia is there to direct traffic, Agent Gibbs. GIBBS: I'm just responding to your ASAP, Director. SHEPARD: This is Lance Corporal Danforth's father, William. GIBBS: My sympathies, Mister Danforth. DANFORTH: Thank you, Agent Gibbs. SHEPARD: The SECNAV would like us to keep Mister Danforth in the loop throughout the entire investigation. GIBBS: More than usual? SHEPARD: Yes. DANFORTH: Gordo and I served together in Beirut, Agent Gibbs. And quite frankly, I'm using that friendship. Wouldn't you? SHEPARD: He would. GIBBS: Sixth or eighth? DANFORTH: Two six. Fox Company. GIBBS: One one. Scout snper Platoon. DANFORTH: Beirut? GIBBS: Desert Storm. DANFORTH: So what can you tell me about my son, Agent Gibbs? GIBBS: Jethro.(DOOR CLOSES) DANFORTH: Bill. GIBBS: Only what I read in the hospital and police reports. SHEPARD: Mister Danforth has seen those. He's asking how his son's body was incinerated. GIBBS: It wasn't. AFIS couldn't match the body in autopsy with Lance Corporal Danforth's DNA. SHEPARD: You're saying that it isn't Mister Danforth's son? GIBBS: Not according to AFIS. DANFORTH: Could there be a mistake? GIBBS: One in nine million. SHEPARD: Have Abby rerun the DNA. GIBBS: Already on it, Director. SHEPARD: Well, if it's not Lance Corporal Danforth, who the hell is it? GIBBS: I'll let you know when I find out. DANFORTH: What should I tell his mother? GIBBS: I wouldn't tell her anything yet. DANFORTH: Right. My numbers. Director Shepard, I'll tell Gordo how cooperative you've been. SHEPARD: The least we could do. GIBBS: Hey Bill. Did you identify your son's body? DANFORTH: No. The police notified us that he had died. Said his body was being shipped to Bethesda. Do you think Billy... could still be alive? GIBBS: I think the hospital transported the wrong body. (DOOR OPENS) (DANFORTH WALKS O.S.) (DOOR CLOSES) SHEPARD: Bull. CUT TO: INT. HOSPITAL CORRIDOR - DAY DOBSON: The Marine from two nights ago, Danforth? Yeah, I remember him. MCGEE: Are you the one who treated him? DOBSON: Treated? No. Unfortunately all I did was pronounce him dad, Agent McGee. It's hard to believe it's the same kid. ZIVA: Why is that? DOBSON: He was a mess. Heavy contusions to the cranium. Pronounced facial lacerations. Half his skull caved in. ZIVA: Who ID'd his body? DOBSON: A buddy gave us the tentative I.D. and we also pulled his license from his wallet. MCGEE: Does his buddy have a name? DOBSON: I can do better than that. He's in I.C.U. room five. ZIVA: The police report didn't mention anything about a third injured party, Doctor. DOBSON: That's because he wasn't injured, Officer David. He's visiting. CUT TO: INT. I.C.U. ROOM - DAY MERRILL: (READS) "Our souls are like those orphans whose unwedded mothers die in bearing them; the secret of our pa... pat..." ZIVA: Paternity lies in their graves and we must there to learn it. MCGEE: Herman Melville, Moby Dick. ZIVA: Call me "Ishmael." MERRILL: It's her favorite book. The doctors said it might help. It's helping give me a headache. You're Rebecca's relatives? MCGEE: Ah, no. NCIS. MERRILL: Corporal Merrill, Sir! MCGEE: At ease, Marine. ZIVA: We're only here to ask you a few questions. MERRILL: Oh, of course, Sir. I mean, Ma'am. (ZIVA WALKS O.S.) MCGEE: She doesn't like being called Ma'am. It's okay. CUT TO: INT. CORRIDOR - DAY MERRILL: Is this about Billy, Ma - Miss? ZIVA: If you mean Lance Corporal Danforth, yes. MCGEE: We understand that you I.D.ed his body. MERRILL: Tried to. Billy's face was all mashed up. ZIVA: How did you know it was him? MERRILL: Who else could it be? He was in his car with Rebecca. At least he was last time I saw him. ZIVA: Which was? MERRILL: The night he was klled. MCGEE: Feel free to elaborate. MERRILL: Huh? ZIVA: Tell us about that night. MERRILL: Uh... Billy had just landed stateside after his second tour in Iraq. So me, him and Rebecca, Billy's girlfriend, we were out celebrating at the Gold Monkey. MCGEE: Celebrating meaning drinking? MERRILL: Not me, Sir. Billy was. Even though he shouldn't because.... he just shouldn't. I made Rebecca drive him home 'cause he looked pretty bad, like he was going to puke or something. MCGEE: You're a good friend. MERRILL: Me and Billy have been buds since he was this big. He was the only one who never made fun of my stutter. ZIVA: You saw Lance Corporal Danforth get into the car? MERRILL: I put him in it. Like I said, he was p-pretty drunk. I went back inside the bar for maybe half an hour. When I left, I ... I p-passed the accident on my way home. The cops were already there. Said Billy's car ht a t-t... MCGEE: It's okay, Corporal. We read the police report. MERRILL: He was just lying there all ... broken and b...bent up. They were trying to s-save him, but I just knew. I knew he was... the doctor said he probably didn't feel anything. Do you think he was telling the truth? Or was he just trying to make me feel better? Doctors do that... don't they? MCGEE: Well, in my experiences, E.R. doctors, they usually tell it like it is. CUT TO: EXT. BASKETBALL COURT - DAY (SFX: LOUD MUSIC B.G.) (F/X BASKETBALL GAME B.G.) TONY: Definitely moving. Definitely moving. Whoa! Whoa! Whoa! Whoa! Who's your daddy now? (MUSIC OVER ACTION/TONY FALLS TO THE GROUND) GIBBS: Are you having fun, DiNozzo? TONY: All done interviewing Danforth's C.O. GIBBS: Are you done interviewing his platoon? TONY: Nothing builds rapport like a good game of ball. Thanks, guys! (PASSAGE OF TIME) TONY: The guys said Danforth was a top Marine. But the word is, he only joined 'cause his father was a Marine. Ah! Ah! Oooh.... a little looser, please. My toes have gotten used to the whole blood thing. Circulation. GIBBS: DiNozzo.... TONY: The word also is that he was inseparable with another Marine ... a Corporal ... GIBBS: Kenneth Merrill. TONY: Yeah. GIBBS: Followed Danforth into the Corps on the buddy program. CORPSMAN: Of course he did. That guy is as loyal as a Saint Bernard. TONY: Would you just focus, please? And I'm starting to lose feeling in my pinky toe. Does that look right? (TO GIBBS) Apparently he was as loyal as a Saint Bernard. GIBBS: According to the C.O., the Corps worked out pretty well for him. TONY: Oh, yeah. He got into boxing, got his first girlfriend, and get this... it turns out he had a knack for disarming IEDs. His platoon called him the - CORPSMAN: The Forrest Gump of explsives. TONY: I'm not trying to do your job, am I? CORPSMAN: Put an ice pack on that. Fifteen on, fifteen off. TONY: Yeah, I know the drill. Thanks, Corpsman. (CORPSMAN WALKS O.S.) TONY: Oh, that's real swollen. I don't think I'm going to be able to walk on this thing, Boss. Ah! Look at that. Look, it's a miracle. GIBBS: Yeah, loyal as a Saint Bernard. TONY: I always wanted to get one of those until I found out they didn't come with that barrel of whiskey around their neck. You're wondering if Merrill helped his buddy fake his own death to get out of the Corps? GIBBS: No. I'm wondering who they got to play the part of the dad body. (CUT TO BLACK) FADE IN: INT. SQUAD ROOM - DAY ZIVA: (V.O.) You really think Lance Corporal Danforth faked his own death? TONY: You got a better theory? MCGEE: Actually, we do, Tony. SHEPARD: I'd like to hear it, Agent McGee. And yours as well, Agent DiNozzo. (LONG bat) Both preferably sometime today. ZIVA: We think Corporal Merrill may have klled Danforth, Director. SHEPARD: Why? ZIVA: Merrill conveniently forgot to tell us about the fight they had the night Danforth was klled. SHEPARD: A fight over what? TONY: Gibbs is not gonna like this. SHEPARD: Is there a problem, Agent McGee? MCGEE: Uh, no. No, Ma'am. Merrill claims that he was trying to stop him from drinking and driving. According to the bartender, they broke two tables and a chair over it. SHEPARD: Sounds like more than two good friends fighting to me. ZIVA: I agree. Merrill also passed Danforth's accident on the way home. He could easily have finished him off. MCGEE: Merrill goes to hide the body. When he comes back to clean up, cops are already on the scene. SHEPARD: What about the other body? ZIVA: There was a third party in the car. We only have Corporal Merrill's word that the two of them drove off. TONY: (QUIETLY) No way! Wrong! MCGEE: Merrill shows up at the hospital, confirms the false I.D. SHEPARD: Then later goes back, torches the ambulance before the real I.D. can be made. TONY: Okay, I'm sorry. I've got... I've got to interrupt because ...here's the thing. I have a theory that actually has motive, which might be helpful. I don't mean to belittle my colleagues' efforts. I seem to feel Lance Corporal Danforth didn't ht a deer. He ht Ducky's John Doe. Stick with me here. He's drunk, right? Wasted. Looking five to ten for manslaughter. So he switches the John Doe with his body, then skips town. Right? And then he has his buddy Corporal Merrill come along and torch the evidence. That's how it happened. Pretty simple. It's really just detective work connecting the dots - hey, Boss. The Director wanted - she wanted.... GIBBS: With me. TONY: Okay.(MUSIC OVER ACTION/ALL WALK UP STAIRS) CUT TO: INT. SHEPARD'S OFFICE - DAY (MUSIC OVER ACTION/GIBBS WALKS INTO THE OFFICE AND SITS AT THE DESK) SHEPARD: Dramatic, but duly noted, Agent Gibbs. I get it.(DOOR OPENS) CUT TO: INT. STAIRCASE - DAY (DOOR OPENS) TONY: That wasn't the way it looked, boss. GIBBS: I know. TONY: The Director kind of suckered me into that deal. GIBBS: Ziva caved first. ZIVA: I didn't cave in! I was trying... GIBBS: McGee next. MCGEE: Boss, it wasn't what it looked-- GIBBS: And my loyal Saint Bernard held out 'till last. TONY: Well, I think... GIBBS: Probably all of thirty seconds. So what is my team, can I call you my team? ZIVA: Yes! MCGEE: Yes, Boss! GIBBS: What are you going to do now? ZIVA: Well, I think we should -- MCGEE: We could uh... GIBBS: Solve the case! Tony, you impound Danforth's car. Have Abby see if it ht anything besides the tree. Then you and McGee go to the original crash site. McGee, I want an agent standing by Rebecca Crawford's room to get a... MCGEE: A statement the second she wakes up, Boss. You got it. ZIVA: And I'm with you, yes? GIBBS: I don't know, Ziva. Are you? ZIVA: Definitely. MUSICAL BRIDGE TO: INT. TRAINING CLASSROOM - DAY MERRILL: The improvised explsive device, gentlemen. The wapon of choice in Iraq and Afghanistan. The problem is spotting them when they look something like this. Now these are just a few of the I.E.D. configurations I encountered on my last pump in Iraq. Today I'm going to teach you how to locate, disarm, or if need be, blow them all in place. Corporal, you got it. Take over. They're yours. CORPORAL: (V.O.) You got it, Corporal Merrill. Give me a holler. MERRILL: Can I help you, Sir? ZIVA: Did you know that lying to a Federal investigator is a crime? MERRILL: I didn't lie. GIBBS: What was the fight in the Gold Monkey about? MERRILL: Billy was drunk, Sir. I tried to take his car keys away and he started swinging. I guess I didn't try... hard enough. ZIVA: You told me you placed him inside the car. MERRILL: I did. Billy must have made B-Becca pull over. I should have... have... GIBBS: You should have taken him home yourself? MERRILL: Yeah. Billy's dad because of... m-me. ZIVA: Are you sure he's dad? GIBBS: The brned body isn't Lance Corporal Danforth. CUT TO: EXT. ACCIDENT SITE - DAY MCGEE: Enough, already! You know I'm not the type to kiss and tell. TONY: Kiss? I heard from a reliable source that you were out with Agent Larsen last night until about two a.m. MCGEE: Who told you that? TONY: I have information you want. You have information I want. Shall we dance? MCGEE: Forget it. TONY: Real men always kiss and tell. MCGEE: Okay, so what are we looking for that the cops didn't already find? TONY: They thought it was an accident. But they were not using the honed eye of a highly trained Federal agent. Probie, bring one of those numbers. MCGEE: Prescription bottle of ibuprofen. TONY: Grunt candy, a Marine's best friend. Must've been thrown from Danforth's car. MCGEE: So? TONY: So it belonged to Corporal Merrill. And there's blood on it. CUT TO: INT. SQUAD ROOM - DAY TONY: Come on. Say it. ZIVA: Say what? TONY: "You were right, Tony." You'll be the bigger woman for it. I'll just have to content myself being the.... well, the righter one. ZIVA: Woman? TONY: You know what I mean. I found Merrill's scrip at the scene which means they were in it together. And the DiNozzo Body Swap Theory takes the lead! ZIVA: What if he dropped it while klling Danforth? GIBBS: Abby found Danforth's blood all over the windshield and hood. ZIVA: So much for your body swap theory, Tony. TONY: I've seen more than a few people survive the windshield taste test, Ziva! ZIVA: Give it up, Tony. You said Merrill was the Forrest Gump of explsives. Who else had the equipment and expertise to blow up the ambulance? GIBBS: Ziva's right. Bring him in. TONY: You're feeling pretty smug, aren't you? ZIVA: Oh, yes. Very. CUT TO: INT. ELEVATOR - DAY SHEPARD: So what's bugging that famous gut now? Yes, you're that easy to read. I learned how to speak Gibbs a long time ago.(SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) GIBBS: Are you going to Abby's lab or autopsy? SHEPARD: Abby's. GIBBS: Not to work my case? SHEPARD: I have the right to dig into any NCIS investigation that I want to. GIBBS: Not mine. Unless you want me behind your desk again. Of course, you could just observe and keep quiet. (SFX: ELEVATOR DOORS SLIDE OPEN) SHEPARD: Fine. CUT TO: INT. LAB - DAY ABBY: As you know, this is the only piece of the trigger I found. SHEPARD: (LONG bat) I'm not really here. ABBY: Do you know how long I've been waiting to cross over into an alternate dimension?! GIBBS: Well, you're still here, Abs. For now. What is this? MCGEE: That's laminated paper substrate, Boss. Found in any number of electronic devices. ABBY: Unfortunately, I couldn't find a trace of a single one. But then, I was surfing around on my favorite origami web-ring, and it ht me. Origami! The ancient art of paper-folding! Maybe the laminate substrate was the trigger. GIBBS: Are you telling me Merrill folded himself a bmb? ABBY: No, that's impossible. It came pre-folded. MCGEE: You see, several companies have been exploring the use of paper circuit boards for disposable products. ABBY: Metallic ink is printed on laminated paper and then folded into the desired shape. I coated our burnt substrate with a metallic iron particulate. MCGEE: Which would attach to any residual metallic ink still present. ABBY: And then I ran the whole thing through an X-ray to pick up on any latent patterns. Voila. You're looking at a partial circuit board for a disposable cell phone. SHEPARD: Any chance we could read the ... GIBBS: Any chance we could read the... SHEPARD: .... call log. GIBBS: Call logs? ABBY: I have a better chance of getting McGee to wear a Speedo to church. MCGEE: But I was able to pull a list of all the incoming calls to the hospital's cell zone. Only three came in immediately prior to the explsin. One of them was the triggering call. Corporal Kenneth Merrill. CUT TO: INT. HOSPITAL - DAY GIBBS: I appreciate you meeting me, Bill. DANFORTH: Sure. How's she doing? GIBBS: She's sab. Still in a coma. DANFORTH: Are you waiting to question her? GIBBS: Listen, the fre wasn't an accident. How well do you know Corporal Kenneth Merrill? DANFORTH: Kenny? He's like a son to me. It wasn't an accident? GIBBS: No. The van was rigged to explode. DANFORTH: Because Kenny defused IEDs in Iraq, you think he has something to do with this? Nah, impossible. GIBBS: His mother told me that Rebecca used to be Kenny's girlfriend. DANFORTH: Oh, when they were children. They've been best friends since elementary school. GIBBS: The night of your son's accident, he was also in a fight. DANFORTH: My son liked to drink. Sometimes in excess. Kenny was just trying to stop him from driving home drunk. Kenny had nothing to do with this, Jethro. GIBBS: It looks like the call that triggered the fre came from Kenny's cell phone. DANFORTH: What time was that? GIBBS: Zero nine hundred about. DANFORTH: It wasn't Kenny. He was with my wife and I from... I don't know, since... since before dawn up until at least noon. (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. MCGEE: (V.O./FILTERED) Hey, Boss. Corporal Merrill disappeared. (GIBBS HANGS UP THE PHONE) DANFORTH: Was that about my son? MCGEE: No. Corporal Merrill. After I questioned him, he walked out of the class he was teaching. No one's seen him since. (MUSIC OUT) MUSIC IN: INT. SHEPARD'S OFFICE - NIGHT (DOOR OPENS/ CLOSES) (MUSIC OVER ACTION/GIBBS SETS THE TABLE) SHEPARD: I don't recall ordering room service. Is that steak au poivre? And frisee salad. Oh. Oh. You know, the last time we had steak au poivre, six people died. What is this meal going to cost me? GIBBS: Can't a guy just sit down and have a bite with his old partner? SHEPARD: Old partner? Must be worse than I thought. (bat) How'd it go with Danforth at the hospital today? GIBBS: It went okay. If you're Corporal Merrill. Danforth gave an alibi for the day of the explsin. SHEPARD: I assume you didn't believe him. GIBBS: Why's that? SHEPARD: SHEPARD: Because I wouldn't be eating steak au poivre right now if you did. If Danforth's covering for Merrill, he has to believe Merrill didn't kll his son. (CONT.) And the only way he can know that for sure is... GIBBS: If the kid is still alive. SHEPARD: But you don't believe that, either. GIBBS: The alibi was B.S. The grief was real. SHEPARD: You sure Danforth wasn't playing you? Sorry. But that still doesn't mean his son's dad. There was an accident. He could be hurt. GIBBS: He could be recovering in a private hospital somewhere. SHEPARD: Wouldn't be the first time a parent with means used them to keep a child out of trouble. Are you going to eat that aspara - thank you. There is another possibility. If Danforth is grieving for his son.... then he's only covering for Merrill because... GIBBS: He refuses to believe that Merrill attempted to kll him. SHEPARD: Let's hope he's not wrong. Either way, however it went down, Jethro, you find Merrill, you'll find Danforth, Junior. CUT TO: INT. SQUAD ROOM - DAY TONY: (INTO PHONE) Merrill, (SPELLS) M-E-R-R - R-R! Like Ricky Ricardo. MCGEE: Okay, I got his ATM records... checking for any recent activity. ZIVA: (INTO PHONE) Vehicle is a tan Sierra, license plate D-P-H... TONY: (INTO PHONE) Ricky Ricardo! You know, from "I Love Lucy." MCGEE: No withdrawals in the last two weeks. Credit card records coming up. ZIVA: (INTO PHONE) Tan. If I meant burnt umber, I would have said burnt umber... what - TONY: (INTO PHONE) Ricky Ricardo. You know, you some 'splainin' to do, Lucy! (bat) Hey, Boss. Just updating the BOLO on Merrill. ZIVA: And checking the DMV to see if he's had any traffic violations recently. MCGEE: And going through his financial records to try and pick up any leads off any recent purchases. GIBBS: And? TONY: And we can't find him. Uh... but we're not going to give up until we do. MCGEE: Or die trying.(GIBBS WALKS O.S.) TONY: Or die trying? You had to put that in his head? CUT TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN) GIBBS: You wanted to see me, Duck? DUCKY: Yes, I did. I was just about to call you. Small wonder DiNozzo is always looking over his shoulder. I managed to put a couple of bits together. Yes, lower canine. (SFX: DOORS SLIDE CLOSED) GIBBS: How long? DUCKY: Oh, a week... maybe longer. GIBBS: And the odds of this reconstruction getting us an I.D.? DUCKY: Exceedingly long. But it's the only method I have for identifying these remains. GIBBS: I've had long shts come in. DUCKY: I once wagered a five hundred-to-one on the Irish Sweepstakes. He fell at the first jump, but then recovered. He fell at the second jump. You'll never guess what happened next. CUT TO: INT. LAB - DAY (SFX: DOORS SLIDE OPEN) GIBBS: (INTO PHONE) Yeah, Gibbs. ABBY: That's me, Gibbs! You'll never guess what I found! Come on, Gibbs. Guess! I ran the prints from the bottle of ibuprofen that Tony found at the Danforth accident site. Can I at least get a drum roll? GIBBS: Ta-da. ABBY: Pathetic. GIBBS: Prints. ABBY: The prescription belonged to Corporal Merrill. All of the prints on the bottle belonged to Lance Corporal Danforth! GIBBS: So Merrill gave Danforth some of his grunt candy. ABBY: It wasn't grunt candy! The bottle was empty, so I swabbed it and I ran it through the mass spec. Cyclosporine, azathio-prine. GIBBS: Come on, Abs. In English. ABBY: They're anti-rejection drugs, Gibbs! If Danforth was taking them, he's had a transplant! The DNA I ran could be from a donor organ. It kind of turned me on. I'm going to get another sample from Ducky. This body could be Lance Corporal Danforth. So urban myth. CUT TO: INT. HOSPITAL ENTRANCE - DAY GIBBS: Hey, Bill. I called your home. Your wife said you were here. DANFORTH: You have bad news for me, don't you? GIBBS: Yeah. Where'd your son have his transplant? DANFORTH: Does it matter? GIBBS: No. DANFORTH: You can't stay in the Corps with a kidney transplant, Jethro. GIBBS: Who brned in the fre, Bill? DANFORTH: An unclaimed body at the hospital morgue scheduled for cremation. I made a donation. They switched a toe tag. And the county saved itself the cost of a cremation. GIBBS: It could have klled those EMTs, Bill. DANFORTH: No. I didn't detonate that oxygen until they were clear. GIBBS: Why? Your son was dad. The Corps doesn't care if he had a transplant now. (bat) They were more than friends. They were a match! Corporal Merrill gave your son a kidney. DANFORTH: An autopsy would reveal the transplant. I was afraid that the M.E. would run a DNA check on the donor organ. GIBBS: And you can't be on active duty if you give away a kidney. DANFORTH: The Corps means the world to that boy, Jethro. It's his life. And he risked everything. He risked it all to help out his best friend. My son. GIBBS: He rigged an IED to burn that... DANFORTH: I did that! GIBBS: Bill! DANFORTH: I'll swear I did it. Kenny had nothing to do with this. GIBBS: Why'd he go UA? DANFORTH: He didn't go UA. He was at my place. The things that Kenny's teaching those Marines going to Iraq will save their lives, Jethro. Come on, let me take the ht on this one. GIBBS: Where is your son's body? DANFORTH: At the hospital morgue. GIBBS: Come on. CUT TO: INT. AUTOPSY ROOM - DAY (SFX: SAWING B.G.) DUCKY: I do apologize. Usually one scraping is sufficient, but you are so crispy. Ah. That should satisfy Abby. Ah, Jethro. Abby told me about the transplant and her theory. GIBBS: Hmm - You buy it? DUCKY: Well, it is possible. GIBBS: My money's on your teeth, Duck. Get back to them. DUCKY: As soon as I give this to Abby. GIBBS: I'll do it. DUCKY: Jethro! GIBBS: Ah. DUCKY: I've never seen you break evidence protocol before. GIBBS: You don't trust me, Duck? DUCKY: Well, that's not the point. Chain of evidence is chain of evidence. GIBBS: You're right about that. I'd slap DiNozzo silly if he did it. DUCKY: Jethro, you surprise me. GIBBS: Must be getting old. (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) CUT TO: INT. ELEVATOR - DAY (MUSIC OVER ACTION) (SFX: GIBBS SLAPS HIMSELF) GIBBS: God. CUT TO: INT. LAB - DAY ABBY: Yes! Yes! Whoo! Yes! Yay! DUCKY: That's incredible. GIBBS: No need for a dental match now, Duck. DUCKY: The odds on getting donor DNA from Danforth's body are ... astronomical! ABBY: Alabama! Nineteen fifty four. A nine pound meteorite hits Annie Hodges. The odds of getting ht by a meteorite - astronomical, no pun intended. But it happens and I'm going to be published again. Ooh, yes. TONY: Peachy for you. But we just lost our victim. ZIVA: Our suspect. MCGEE: Our theories. ZIVA: We've been barking up the wrong tree the entire investigation. TONY: Bush. ZIVA: Sorry, bush. We've been barking up the wrong.... bush. TONY: Tree. So who torched the ambulance and why? GIBBS: Don't look at me. (SFX: ELEVATOR DINGS) SHEPARD: Don't tell me. GIBBS: Well, yeah. Abby was right. The first test picked up donor DNA. Our John Doe is Lance Corporal Danforth. SHEPARD: Good. I mean not good a Marine is d*ad. But good that the case is no longer ours. GIBBS: Mm-hmm. SHEPARD: I know what you're going to say Jethro and don't. I want Lance Corporal Danforth's remains returned to his father and I want the case turned over to the Maryland arson investigators. That will make Mister Danforth happy, which will make the SecNav happy, which in turn will make me very happy. We have wasted way too many of our resources already. GIBBS: Okay. (MUSIC UP AND OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x16 - Family Secrets"}	foreverdreaming
FADE IN: EXT. NATIONAL PARK - DAY HENDRICKS: Almost there, boys! Just five more to go! JERRY: Minutes? HENDRICKS: Miles, Jerry. Hold up. Come here. Come on. This here's your lucky day. You know what we got here? JERRY: Yeah, a seriously mammoth pile of... HENDRICKS: Bear scat. Fresh. Any brave soul want to investigate this particular bear's diet? JERRY: Sure. My old man always said I was full of this stuff anyway. HENDRICKS: Now, bears are omnivores. They'll basically eat anything. It's not unusual to find digested berries, deer sinew, even bones in a single scat specimen. So, Jerry, tell us. What's this one been eating? JERRY: I think maybe people. (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) MUSIC IN: INT. AUTOPSY ROOM - DAY "RAVENOUS"(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) TONY: Trust, me. You've got to see this. ZIVA: I'd rather be taking a shower, Tony. TONY: It's every newbie's worst nightmare.(SFX: DOORS SLIDE OPEN) DUCKY: This liver shows signs of advanced cirrhosis. It's clearly consistent with the jaundiced skin we noticed earlier. Now if you'll come closer, you'll be able to see the inflammation of the pancreas. Oh, hello! Scalpel, please, Mister Palmer. Every cadaver has its own story to tell. In many cases, it's... it's just a whisper that reveals.... TONY: All new agents are required to observe an autopsy. You should have seen McGee. Hurled. Emptied the contents of his stomach onto Ducky's shoes. DUCKY: It's not only visual cues we look for. Odors can be helpful too. Note the putrid smell. ZIVA: I think he's talking about you, Tony. DUCKY: (V.O.) There's no need to be shy. Odors... (SFX: PROBIE GAGS) ZIVA: We have the same test at Mossad. If you fail, they terminate you. TONY: How do you fail an autopsy?(SFX: DOORS SLIDE OPEN) ZIVA: By doing that. What happens if you fail here? TONY: Depends, Officer David. Some of them go on to become our Director. You'll have to reschedule your class, Duck. The rangers found a body in Shenandoah Park. DUCKY: Well, perhaps you'd be willing to share the specifics with the class. Yes, the three most frequent causes of death in our national parks are heart attcks, hiking accidents, and prolonged exposure to the elements. GIBBS: Not this time. Sailor was eaten... by a bear. CUT TO: EXT. CAMPSITE - DAY TONY: Yet another reason why I never want to go camping. MCGEE: Actually, Tony, bear attcks are quite rare. TONY: Really? Do you want to tell this guy? ZIVA: Not a big fan of nature, huh?(CAMERA FLASHES) TONY: Oh, I'm a big fan of nature as long as it's on TV. RANGER LANDIS: I'd say three hundred twenty five pounds. Maybe six foot standing, Agent Gibbs. GIBBS: You found the dog tags here, Ranger Hendricks? HENDRICKS: Right on the other side of the clearing. I followed the tracks back and found... found what was left of his body. ZIVA: Well, the name matches the dog tags recovered by the park rangers. Petty Officer Benjamin Riley. TONY: Bag it. Probie, you were a Boy scout or whatever, right? MCGEE: Yeah. Well, technically I was a Webelos but.... TONY: Whatever. Use your expertise and go and bag and tag that bear poo down there. Bag the poop. GIBBS: When you're done collecting scat, find out what the hell happened to Ducky. MCGEE: Got it, Boss. LANDIS: This entire area is supposed to be off limits to campers. HENDRICKS: A hunter was bear-baiting here last month. TONY: Bear baiting? HENDRICKS: Have you spent any time in the woods, Special Agent DiNozzo? TONY: Well, heck yeah. As much time as I can I'm in the woods. I'm a big fan of mother nature. HENDRICKS: In the off-season, hunters set out food.... always in the same place. Bears get used to being fed and, come season, all they have to do is wait.(CAMERA FLASHES) TONY: That's clever. I'll have to try that the next time out. ZIVA: It's illegal, Tony. HENDRICKS: If I had my way, hunting would be, too. GIBBS: Who was baiting the bear? LANDIS: A local. Jason Edom. We pulled his license and banned him from the park. HENDRICKS: For life. ZIVA: Petty Officer Riley know this was a potentially dangerous area? HENDRICKS: We hand this out to every visitor. LANDIS: Had a real bad drought around here this year. The berries the bears normally feed on have been scarce. A hungry bear will eat just about anything. HENDRICKS: The sad fact is they're going to track down this bear and kll it because your stupid sailor couldn't be bothered to read a three page pamphlet. LANDIS: You'll have to forgive her. She's what we like to call "opposed" to hunting. ZIVA: Yes, that's not the only thing she's opposed to. GIBBS: You said Riley checked in alone? LANDIS: Monday afternoon. I signed him in myself. GIBBS: We're going to need to organize a search. LANDIS: I'm one step ahead of you. I've got a team out tracking the bear now. If he's still in the area, we'll find him. GIBBS: I'm more concerned about the woman. There's two sets of footprints. One is Riley's. The other's a lady's size seven.(CAMERA FLASHES) LANDIS: Are you sure about that? GIBBS: Yeah. Unless these are Navy issue. CUT TO: EXT. STAGING AREA - DAY LANDIS: Listen up! I want four-man teams in each sector. At least two of them armed with rfles. She's been out there at least two nights, possibly injured, and most definitely scared out of her mind. All communications will run through mountain tac one. Most of them have been working search and rescue in the park before I got stationed here. They'll find her. (DOGS BARKING B.G.) GIBBS: Hope it's before the bear does.(GIBBS WALKS O.S.) CUT TO: EXT. CORONER'S VAN - DAY DUCKY: I'm sorry we were so late, Jethro. Mister Palmer's navigating skills still leave something to be desired. JIMMY: Honestly, Doctor, I thought that moss grew on the south side of trees. DUCKY: It does in Australia. TONY: Petty Officer Riley's vehicle isn't in the parking lot, Boss. According to the red - to the local guys, a lot of the campers park their cars at the general store outside the main gate. MCGEE: Park's been having problems lately with vandalism and theft on unattended vehicles. GIBBS: Find it, DiNozzo. TONY: On it, Boss. GIBBS: Move over, Palmer. I'm driving. (MCGEE WAVES TO THE LOCALS) TONY: Don't. MCGEE: Don't what? TONY: Don't encourage them, Probie. Didn't you ever see Deliverance? MCGEE: No. TONY: Well, when you do just remember that I'm Burt Reynolds and you're Ned Beatty. (SFX: CAR ENGINE STARTS) CUT TO: EXT. PARKING LOT - DAY (SFX: VAN DOORS OPEN/ CLOSE) MCGEE: It's Riley's. TONY: Jackrabbit Slims? ZIVA: Just like the diner in Pulp Fiction. TONY: You don't know how to say porcupine, but you know the diner from Pulp Fiction? ZIVA: And believe it or not we actually have movie theaters in my country. MCGEE: Locked. TONY: Keys are probably inside. Afternoon. Five dollar shakes. Girls dressed like Marilyn. This could be a little slice of heaven. CUT TO: INT. DINER - DAY (SFX: MUSIC PLAYS B.G.) TONY: Or not. ZIVA: Do you feel like dancing? MCGEE: They're drinking cappuccinos? TONY: Probably fueling up for the banjo dueling contest later. ZIVA: What's that? MCGEE: Oh, those are scones. Sort of like an English coffee pastry. TONY: I think, Probie, that Ziva was referring to the jar next to the scones. Those are pickled pigs feet, Ziva. I think you'd enjoy them. ZIVA: Ooh, I'll pass on that. They're not exactly kosher. WESLEY: Can I help you folks? MCGEE: I'll take a double-sht, extra foam-- TONY: (OVERLAP) NCIS. WESLEY: You hear about the sailor eaten by the bear? TONY: Well, yes, I guess his car is in your parking lot. WESLEY: Yep. I figured someone would show up for it. I charge park visitors ten bucks a day. I guess I'm gonna have a hard time collecting. ZIVA: Well, that's a good guess. WESLEY: Jason! The key to the Cherokee. ZIVA: Jason ... Edom? JASON: Here you go. ZIVA: Thank you, Jason. JASON: I know you, lady? ZIVA: Not yet. TONY: You see anyone with Petty Officer Riley when he dropped that off? WESLEY: Nope. You? JASON: Nope. You're wasting your time, sweetheart. I don't date your kind. ZIVA: What is your kind, Mister Edom? Breathing? WESLEY: You want to keep working here? You better learn to keep your damn mouth shut. (TO ZIVA) I'm sorry about that, Miss. The boy's a little on the touchy side. TONY: Yeah, I'd say so. Thank you for your help. MCGEE: Ziva, come on. Let's go. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: (V.O.) The American black bear has a narrow muzzle and a large hinged jaw with enormous crushing power. (ON CAMERA) Six hundred pounds per square inch. No animal of equal size is nearly as strong. You never discovered any of that, did you? GIBBS: How do you know that? DUCKY: Well, when Mister Palmer sponged him down, we didn't find any evidence of slashing or wounds on his hand and forearm. GIBBS: He didn't defend himself. DUCKY: More than that, I'm afraid. The bear's claws and teeth have rounded edges that pierce the flesh. Yes, when I examined Mister Riley's heart, it revealed a very different story. Our Petty Officer was klled with a flat blade. Death would have been instantaneous. Yes, he was dad ... GIBBS: Before the bear started eating him. DUCKY: Yes. (MUSIC OUT) FADE IN: INT. SQUAD ROOM - DAY MCGEE: According to Petty Officer Riley's C.O., he's been on leave the last six days. TONY: Nice vacation. A little camping. A Knfe to the heart. A little trip inside a bear's digestive track. MCGEE: I'd fre my travel agent. TONY: You're late, Ziva David. ZIVA: I almost forgot it was Abby's birthday. Do you think she'll like them? TONY: (bat) Oh, yeah. MCGEE: Yeah. (TONY TOSSES ZIVA A BURRITO) ZIVA: Thanks. MCGEE: Think we should have told her? TONY: Nah. MCGEE: No, me neither. CUT TO: INT. LAB - DAY (SFX: MUSIC PLAYS B.G.) ABBY: Little square, little square, where have you been? Stuck on the behind of Riley's missing girlfriend. (SFX: ZIVA CLEARS HER THROAT) ABBY: Oh, hey! I was just about to call Tony and McGee. I think they were having sex. ZIVA: Tony and McGee? ABBY: No! Riley and the missing girl. I found this in their camp trash. It's one of those little sticky thingies like you use when you're trying to stop smoking. But it had residue of medication on it. It was progestin and estrogen. ZIVA: Birth control patch? ABBY: Yes. Is that burrito for me? ZIVA: Nope. But these are. ABBY: Oh. ZIVA: (IN HEBREW) Yom mouledet sameach. Happy birthday, Abby. ABBY: Thank you so much! You shouldn't have. ZIVA: You're right. I guess I shouldn't have. I mean, I could get you something else. ABBY: No! I love them. Hey, um... is Gibbs in yet? ZIVA: I haven't seen him. ABBY: Okay. ZIVA: Is something wrong? ABBY: No. Nope. Nothing's wrong. It's just that every year Gibbs usually takes me out to dinner the night before my birthday. It's like a tradition. ZIVA: Well, he probably just forgot. ABBY: Yeah. ZIVA: I mean because of the case! I could remind him when I see him. ABBY: No! Don't remind him. It's really no big deal. I mean, I don't want to distract him and Gibbs is going to want a name to go with this patch. And that means that I have work to do. Thank you for the flowers. CUT TO: INT. HALLWAY - DAY (SFX: ELEVATOR DINGS/ DOORS SLIDE OPEN) ZIVA: Oh! Nice flowers, Ducky. DUCKY: Ah, I should hope so. I went to four flower shops to find them. Apparently they're sold out all over the city! (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) (SFX: ZIVA CHUCKLES) CUT TO: INT. SQUAD ROOM - DAY TONY: What if we're not looking for a damsel in distress here, Probie. MCGEE: Hmm? TONY: No one saw our missing Jane Doe. Not the Rangers when Riley checked in. Or the hillbillies when he parked his car. MCGEE: She didn't want to be seen. TONY: We could be dealing with a Black Widow here. ZIVA: Lions and spiders and bears. Oh, my! What, Mister Movie doesn't know The Wizard of Oz? TONY: I'm talking about a predatory female here, Ziva. Mates, then kills. Reminds me of my father's second wife. ZIVA: I don't buy your theory. TONY: Oh, what's to buy? She lured him out to the woods, made love to him, then hacked him while he was sleeping. ZIVA: Or ran off while Riley was being sab to death. GIBBS: How about neither? TONY: Rough night, Boss? GIBBS: Well, yeah, DiNozzo. I spent it tracking our missing woman with a bunch of volunteers in Shenandoah Park. MCGEE: You found her? GIBBS: No. ZIVA: So she's still out there? GIBBS: Park service thinks so. Here, McGee. Take the film doey-whacker out of there and put it up there on the plasma. MCGEE: Well, Boss, actually, this is a digital camera. They use memory cards now. I'll put the doey-whacker in. GIBBS: There wasn't a sign or a track of a ladies' size seven boot ever leaving that campground. TONY: How'd she get out here, Boss? GIBBS: Like this. TONY: So what's this? GIBBS: snpers call that a ghost, DiNozzo. Someone who can move through the woods almost undetected. I followed them for three hundred meters before I lost them. They left two obvious signs. The back edge of a military boot heel. And this. MCGEE: Jewelry? GIBBS: Yeah. Get it to Abby. ZIVA: So you think someone carried her away? GIBBS: Well, Ziva, I think she didn't just float out of that campsite. We need to find out who she is. TONY: Right. I talked to the guys Riley worked with at the Navy Yard. Only one of them... a Seaman Brad Phillips, knew he was going camping. Riley mentioned taking a girl he met a couple weeks ago. Phillips never caught a name. GIBBS: Pull Riley's phone records. ZIVA: Did it. And he has a cell phone he doesn't use much. Went back two weeks. Made a couple of phone calls to his family in New York, and the rest were to local businesses and government agencies. GIBBS: Check out his room. TONY: Went through his room at the Navy Yard. Nothing unusual. No sign of a girlfriend. GIBBS: Rangers set up a temporary aid center inside Jackrabbit Slim's for the volunteers. I want you both there. I had them pull the files of all other deaths that happened in that park. ZIVA: Looks like another chance to ht on that cute Ranger, yes? TONY: It's going to be tough, but not impossible. Initial misreads are part of the game. ZIVA: True, except uh... I was talking about me. CUT TO: EXT. PARKING LOT - DAY TONY: Maybe she drove out here on her own. That's why no one saw her with Riley. Registration could give us a name. ZIVA: I assume Gibbs would have checked that out last night. TONY: Rule number eight. Never assume anything. ZIVA: To be precise, it's never take anything for granted. TONY: To be more precise, what would you do if I started head-slapping you? ZIVA: I'd most likely kll you. It's a reflex thing. TONY: Gentlemen.... (TO ZIVA) People with gn make me nervous. ZIVA: I noticed. TONY: I was talking about you, actually. ZIVA: Eh! CUT TO: INT. GENERAL STORE - DAY TONY: Still holding any vehicles for campers? WESLEY ROWAN: Your Agent Gibbs asked the same question... last night. Nope. ZIVA: Looks like the search is good for business. Yes? WESLEY ROWAN: Yeah. LANDIS: Special Agent DiNozzo. Ziva. ZIVA: Find anything? LANDIS: Not yet. We've expanded the search area beyond the initial five mile radius. If she was abducted, she could be anywhere. The park's a hundred and ninety eight thousand acres. It's over three hundred square miles. ZIVA: It's a big area to patrol. LANDIS: Yeah, unless you like to exercise. ZIVA: Well, as a matter of fact, I like to walk and... TONY: Our boss would like any records you have on deaths in the park. LANDIS: Bobby? HENDRICKS: Follow me. CUT TO: INT. CORNER OF THE GENERAL STORE HENDRICKS: These are every death over the last ten years. All ruled natural or accidental. TONY: Thank you. Listen, I just wanted to... I think we may have gotten off on the wrong foot, and I just wanted to let you know that I'm not a hunter. I was trying to impress you. HENDRICKS: Really? TONY: Yeah. CUT TO: INT. LAB - DAY GIBBS: Got anything? ABBY: Define anything. No, thanks. GIBBS: Hair follicles? ABBY: Uh-huh. GIBBS: Our missing woman? ABBY: Most likely. GIBBS: And? ABBY: And Caucasian. Brunette. It's in the anagen, or growth phase. So I can probably get DNA off the root. GIBBS: What about the one on the right? ABBY: It's from Petty Officer Riley's car. They're both from the same person. GIBBS: She drove out there with him? ABBY: You think? GIBBS: Is something bothering you, Abby? ABBY: No. I did a further test on our lady's birth control method of choice. It's a low-level estrogen patch. Prescription dosage is based on weight and height. So odds are she's of average to small stature. Is there anything else I can do for you? GIBBS: Find me a name. (GIBBS WALKS O.S.) ABBY: Now I know how Molly Ringwald felt in Sixteen Candles. CUT TO: INT. SQUAD ROOM - DAY TONY: Slam dunk. We're going out next weekend. Yeah! ZIVA: (CHUCKLES) That's not bad, Tony. Landis asked me out tonight. I said no. I don't want him to think I'm sleazy. TONY: That term is "easy." ZIVA: What's the difference? TONY: Mostly the makeup. GIBBS: What do we have? TONY: Uh, over the last seven years, there's been eight deaths in the park, Boss. Three from natural causes, a stroke, and two heart attcks. GIBBS: The others? ZIVA: All accidental. In two thousand, a couple drowned while canoeing. The woman's body was never recovered. TONY: In two thousand two a couple got lost hiking. Their remains were recovered last year. ZIVA: In two thousand four, a woman named... TONY: Tracy Roberts' body was discovered nine months after she went into the park to photograph wildlife. Her remains were-- ZIVA: Too ravaged by animals and the elements to determine a cause of death. GIBBS: I want to see a profile on the address-- MCGEE: Boss, I think I found something. GIBBS: Passports. Get me a.... MCGEE: Boss? GIBBS: What, McGee! MCGEE: Sorry. Uh... I think I found something here. The three dad women. They all fit the same description. Twenties, Caucasian... GIBBS: Brunette, petite? MCGEE: Yeah. Since we all know about how you feel about coincidences, I decided to pull their driver's license photos. ZIVA: Wow, they look like they could be sisters.(CAMERA FLASHES) TONY: Something tells me their deaths weren't exactly accidental. GIBBS: We're dealing with a kller who's using park accidents to cover up mrder. (MUSIC UP AND OUT) FADE IN: INT. ABBY'S LAB - DAY MCGEE: Three almost identical women. All of them end up dad in Shenandoah National Park. And if our missing woman fits the same profile, we could be dealing with a serial kller. One that uses park accidents to cover up abductions and mrder. So what do you think? ABBY: I'm not sure yet, McGee. But I think that this might be unforgivable. MCGEE: Well yeah. Of course it's unforgivable. ABBY: What if he had a really good reason? MCGEE: A good reason? ABBY: Yeah, like he was really stressed out or like overworked. MCGEE: What difference does that make? ABBY: Nobody's perfect. MCGEE: Abby, there is no excuse! ABBY: McGee, that's so sweet. I know it's just a stupid birthday. Who cares if Gibbs forgot? MCGEE: Wait, I guess that I do? ABBY: That's why I love you. When you get all hot and bothered like that, it really turns me on. MCGEE: Really? ABBY: Oh, yeah. GIBBS: Are you two done playing grab-assy, or do I need to transfer McGee to a weather station in the Antarctic? MCGEE: W-We were just... ABBY: I think I found our missing girl, Gibbs. And McGee was just congratulating me. The birth control patch that our Jane Doe was wearing turned out to be a Rosetta Stone. It delivers a very specific estrogen cocktail. It's usually prescribed for women whose systems can't handle the pill. The birth control pill is the most common-- GIBBS: I've had a few wives, Abby. ABBY: And yet, you know so little about women. Luckily, this patch was still in the rollout phase so the company is required to maintain detailed medical profiles on the three thousand women that are using them. I crossed those profiles with the data I pulled off her DNA profile, her race, and her blood type. I came up with two hundred women, Gibbs. GIBBS: Find out which one's missing. ABBY: I'm not done yet. From the hair samples we know that the woman was brunette. So if we subtract blonde women and those with black hair, that brings us to forty three. Of the forty three, only fourteen live in the Mid-Atlantic. I called them all and I got thirteen. Number fourteen.... is Jessica fg. She works at HUD in D.C. She didn't show up for work on Monday. She's missing, Gibbs. GIBBS: Have you got a picture? ABBY: I was waiting for the DMV to email me one before I called you. But fortunately, it's already here. MCGEE: Boss, this definitely doesn't look like a coincidence. GIBBS: Ya think, McGee? CUT TO: INT. SQUAD ROOM - DAY TONY: It's confirmed, Boss. She told a co-worker she was going camping with her boyfriend in Shenandoah. GIBBS: Duck, all three of these women's deaths were ruled accidental. Pull their autopsy records along with the two guys who died with them. DUCKY: To look for what specifically? GIBBS: How they were mrder. DUCKY: Oh, right.(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) LANDIS: Nice place you've got here, Ziva. ZIVA: Thank you. HENDRICKS: They just cut our wildlife conservation budget and you guys have a skylight? Nice. LANDIS: I understand things have taken a turn for the worst, Agent Gibbs? GIBBS: If by worse you mean multiple homicides in your park since two thousand, then yeah. Worse. LANDIS: Well there goes that theory. ZIVA: What theory? LANDIS: I was prepared to say that this could all be just a coincidence, but when you see them like that... HENDRICKS: It's more than a little disturbing. GIBBS: Yeah. LANDIS: What can we do to help? TONY: We're looking for someone who knows his way around your park. Most likely a local. LANDIS: We've got a list of the usual troublemakers; poachers and vandals. But I never figured any of them for a serial kller. ZIVA: Most likely you wouldn't, James. The most successful ones blend into their environment. TONY: Yeah. I mean, look at the BTK kller, right? Pillar of the community, Cub Scout leader, president of his church. HENDRICKS: You're saying it could be anyone? GIBBS: Not in this case. We're looking for someone who carried a woman through the woods and hardly left a track. LANDIS: An experienced hunter? GIBBS: Or someone with military training. LANDIS: I'd like to send the photo of the missing woman out to our search teams. GIBBS: DiNozzo! TONY: I'm on it. LANDIS: Get it to Pete at Jackrabbit Slim's. Tell him to post it on every pole, every fence, every car near the park. HENDRICKS: Got it.(PHONE RINGS) GIBBS: (INTO PHONE) Gibbs. ABBY: (V.O./FILTERED) I've got something if you're interested. GIBBS: (INTO PHONE) Yeah, we're on our way. (TO ALL) Abby's got something. ZIVA: Our forensic scientist. You'll like her. She's a vampire. (ANGLE ON TONY'S DESK AREA) TONY: So would you like me to email that or fax it? HENDRICKS: Email is fine. TONY: Email it is. HENDRICKS: So is it just me or is it hot in here? TONY: It's probably a little bit of both. Email sent. There you go. So I was thinking about this weekend and-- HENDRICKS: About trying camping? (SFX: TONY GASPS) HENDRICKS: Is something wrong? TONY: I'm married. HENDRICKS: Then why did you ask for my number? TONY: She's dad. (CRYING) It was a... it was a pottery accident, kiln overheated or something. Very unexpected. Very unexpected. I thought I was ready to move on. HENDRICKS: Oh, you... oh, you poor, poor man. CUT TO: INT. GENERAL STORE (SFX: JASON EDOM CRUMPLES THE PAPER) CUT TO: INT. LAB - DAY ABBY: I swabbed what's left of Petty Officer Riley's clothes. It's mostly his blood and what I now know to be bear saliva. GIBBS: He was eaten by a bear, Abby. Tell me something I don't know. ABBY: About the case or perhaps something more personal? GIBBS: Abby? ABBY: I also found traces of a cornucopia of different chemicals sprayed all over his clothes. Phenyl acetic crystals, methyl anthranilate, and acorn, caramel and bergamot oils. LANDIS: A hunting lure? ABBY: You are correct, Mister Ranger, Sir. More specifically, it was Uncle Bebo's Bear Attractant. Somebody hosed the Petty Officer down with it. LANDIS: I can pull a list of every hunter that applied for a bear hunting permit this year. ZIVA: You don't have to. McGee just found who sprayed him with it. MCGEE: Boss, we pulled multiple prints from the equipment at the campsite. Most of them are Riley's. A bunch, I assume are-- GIBBS: You assume, McGee? MCGEE: Well, yeah. I mean, we're working on getting Jessica fg's prints to clear them, but we have three other matches belonging to a third individual. Jason Edom. ZIVA: Looks like he was baiting more than bears. MUSICAL BRIDGE TO: INT. OBSERVATION ROOM - DAY ZIVA: This man makes my skin crawl.(DOOR OPENS) GIBBS: Can you interrogate him without breaking any bones? ZIVA: Truthfully? No. GIBBS: I agree. That's why I'm doing it. You're going to spend the next few hours studying everything we know about him and the evidence. ZIVA: And supply the answers to you in there? GIBBS: No. No, I've got DiNozzo doing that. You're on Edom's side. ZIVA: Meaning? GIBBS: Meaning, you're going to defend him. I want you to assume that he's innocent. ZIVA: The man's a serial klling rcist, Gibbs. GIBBS: He probably is. But you're still going to do it. ZIVA: Why? GIBBS: Because you can't walk in there and interrogate him - yet. (DOOR CLOSES) CUT TO: INT. INTERROGATION ROOM - DAY (DOOR OPENS/ CLOSES) JASON EDOM: You mind telling me why I'm here? GIBBS: You like hunting. JASON EDOM: Last time I checked that wasn't illegal. GIBBS: Your hunting license was pulled. (JASON EDOM LAUGHS) JASON EDOM: You're a Marine, huh? I can tell. My old man was a Marine. Hated his guts. Gets your hands out your pocket, boy. Shave your face, boy. Cut your hair, boy. GIBBS: See? A lasting impression. JASON EDOM: Semper fi. GIBBS: He teach you how to bait bears? JASON EDOM: Nah, I learned that for myself. He was just a real loser. GIBBS: Your record includes more than bear baiting. JASON EDOM: I guess I'm a complicated man. GIBBS: You did time for asault and battery. JASON EDOM: It was a bar fight. I didn't even start it. GIBBS: Do you know him? JASON EDOM: Yeah. That's the idiot who got eaten by the bear. GIBBS: He was mrder first with a hunting Knfe. You baited the area where that occurred. JASON EDOM: Lookee here, Mister Marine. I haven't been in that park for over a month. Newsflash. I happen to be banned for life. GIBBS: Your fingerprints were found at the campsite. Last time I checked that was inside the park. JASON EDOM: No, that's a damn lie. I've been nowhere near that area. GIBBS: Know her? JASON EDOM: Nope. GIBBS: How about them? JASON EDOM: Like I said... no, okay? I had nothing to do with this. I wouldn't-- GIBBS: Wouldn't what? JASON EDOM: kll people. I may be a lot of things, but I'm not some... some psycho. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY ZIVA: (INTO PHONE) Yes, I'll hold. TONY: You shave, right? ZIVA: What? TONY: Nothing. So how did the kller's prints end up at the campsite? ZIVA: Obviously when he mrder the sailor and abducted the girl! TONY: No, Gibbs wants you defending him, Ziva. ZIVA: McGee, what objects were the kller's - sorry, sorry - Edom, Edom, Edom's prints found on again? MCGEE: Two cans of tuna, one pack of double A batteries. ZIVA: All items sold at Jackrabbit Slim's. Okay, so what if Riley bought these items and Edom placed them in the bag? TONY: (CLAPS) Yeah! That was actually plausible. Nice job. But it is hard to prove. ZIVA: (INTO PHONE) I'm still here, yes. TONY: Okay, Edom's a hunter, right? He's familiar with the area and he's done time for violent crime. ZIVA: (INTO PHONE) Thank you. TONY: And we found his prints at the campsite, so... ZIVA: He didn't do it. TONY: Okay, you're not getting this. You can't just say he didn't do. MCGEE: Ziva, he's right. You need to back your side up with facts and rational... ZIVA: The night Riley was mrder, Edom was at his daughter's dance recital in Manassas, Virginia. Multiple witnesses. TONY: Unbelievable. ZIVA: I agree. I thought for sure this was our man. TONY: No. I mean, this guy actually reproduced? ZIVA: Gibbs, we just-- TONY: Confirmed Edom's alibi. He was in Manassas the night of the mrder. ZIVA: He didn't do it. GIBBS: I know. TONY: He knows. ZIVA: So what now? GIBBS: You're going to go down there and have a talk with him, Ziva. ZIVA: Why? You just agreed he didn't kll the Petty Officer. GIBBS: Because he knows who did. (MUSIC OUT) FADE IN: INT. INTERROGATION ROOM - DAY (DOOR OPENS/ CLOSES) ZIVA: It's not poisoned. (LONG bat) Afraid of germs? JASON EDOM: I didn't kll those women. ZIVA: I know. You were at your daughter's dance recital. You know, I used to spend most of my time on stage, searching for my father's face in the audience. But he was never there. Even when he promised he'd-- JASON EDOM: I drove all the way to South Carolina once. ZIVA: To watch your daughter dance? What's her name? JASON EDOM: Sarah. ZIVA: That's a Hebrew name. It means Princess. JASON EDOM: I didn't know that. ZIVA: Each of them was someone's princess, Jason. JASON EDOM: (SOBS) She should have never left him. Not like she did. ZIVA: Left who? JASON EDOM: Wes. CUT TO: INT. SQUAD ROOM - DAY MCGEE: Boss, State Trooper's just missed Wes Rowan. He left Jackrabbit Slim's with a rfle and a backpack. Said he was going to help with the search. GIBBS: He is the search, McGee. TONY: Jessica fg was Wes Rowan's childhood sweetheart. It was all pretty much all over when she filed a restraining order against him in two thousand. GIBBS: Why am I just finding out about this now? TONY: She legally changed her name. It used to be Parker. ZIVA: Most likely to make it difficult for Rowan to locate her. When he couldn't, he took his anger out on women who resembled her. TONY: That could explain why she never let anyone at Jackrabbit Slim's or the park see her. GIBBS: Oh, you think, DiNozzo? (PHONE RINGS) GIBBS: (INTO PHONE) Gibbs. Abs, I have no time. Two minutes. MCGEE: Boss, State Troopers are setting up roadblocks on all highways leading down from the mountains. GIBBS: He took his backpack with him, McGee. He's not planning on coming down. Grab your gear! I'll meet you out back in five! MCGEE: Guess what, guys. Rowan is a hunting guide, and apparently one of the best in Virginia. ZIVA: Great! He'll be like finding a pin in a haystack. TONY: A needle in a haystack. ZIVA: Well, aren't these just as hard to find? TONY: No. MCGEE: No. CUT TO: INT. LAB - DAY GIBBS: You've got two minutes, Abby. Starting now. ABBY: I don't need two minutes. Just a minute. Or maybe only forty five seconds. GIBBS: Abby. ABBY: I pulled skin cells off the rhinestones that you found in the park, and the DNA matches Jessica fg's hair. GIBBS: You could have told me that on the phone. ABBY: Well, I also found traces of blood! I have a theory, Gibbs. I made this in high school. GIBBS: A minute thirty three. ABBY: Okay. I screwed up a bunch of times and pulling these things off is really hard. I cracked two nails and I cut my finger. GIBBS: Oh hell, she's leaving a trail. That's great work, Abs. ABBY: Wait, I still have a minute and change left. Um... I know you're really busy with the case, and I understand. GIBBS: Understand what? ABBY: That you forgot my birthday. GIBBS: I didn't forget. ABBY: You didn't? GIBBS: No. I remember how old you are, too. ABBY: Oh, you can forget that. GIBBS: Check your desk. ABBY: No. I have been working in here all night. There is no way you snuck by me. (GIBBS WALKS O.S.) (ABBY WALKS TO HER DESK) ABBY: This is so Pulp Fiction. CUT TO: INT. SQUAD ROOM - DAY DUCKY: I've been searching the building for you. GIBBS: You found me. DUCKY: She may still alive, Jethro. I re-checked the Rappahannock County M.E.'s records. All three victims had hairline fractures. The medical examiners assumed that these were caused by animals or falls in the woods. GIBBS: They didn't know she was mrder, Duck. That bastard beats them. DUCKY: I'm afraid so. GIBBS: How does that make her alive? DUCKY: Some of these fractures had minute calcification. They'd gn to heal, Jethro. GIBBS: How long? DUCKY: Oh, I'd say a week or ten days perhaps after he bat them. (TO SCREEN) He'll find you, my dear, hopefully before it's too late. MUSICAL BRIDGE TO: EXT. TRAIL HEAD - DAY HENDRICKS: There are hunting cabins along this edge of the park. He could have taken her to one of them. TONY: Any cabins in the park? HENDRICKS: Two. Birch and Pine. Gotta reserve them a year in advance. They're real popular. TONY: Is anyone there now? HENDRICKS: No. We only open them Memorial Day to Labor Day. GIBBS: Where? HENDRICKS: Pine's here. Birch is here. GIBBS: The other night I lost the trail right here. Jessica could be in one of those cabins. HENDRICKS: Checked them the first day. GIBBS: What if he held her in the woods while you searched the cabin? Search them again. Where is Ranger Landis and the search party? HENDRICKS: Razorback Ridge. GIBBS: Well, he's a lot closer than we are. Have him search them. McGee! DiNozzo, you're with me. Ziva, you stay here with Ranger Hendricks. ZIVA: Gibbs, I think I'd be better suited if I actually went... GIBBS: We're taking him alive. Let's roll. HENDRICKS: I hate it when men try to protect you because you're female. ZIVA: He's not trying to protect me. He's afraid I'll kll Rowan before he tells us where the girl is. CUT TO: EXT. TRAIL - DAY TONY: For a ghost, he's sure leaving a lot of footprints. GIBBS: He took a knee here. TONY: Maybe he heard McGee coming. GIBBS: No. He's tracking. TONY: Tracking who? He already knows where the girl is. CUT TO: EXT. RANGER STATION - DAY HENDRICKS: (INTO RADIO) James? Bobby, how you doing?(DOOR OPENS) LANDIS: (V.O./FILTERED) Almost to Pine Cabin. I've got Beaufort and Max checking Birch. HENDRICKS: (INTO RADIO) You be careful, you hear. LANDIS: (V.O./FILTERED) Don't you worry about me, Bobby. Out. ZIVA: You both live here? HENDRICKS: Jim does. I got me a log cabin about a mile down the road. Built in the eighteen thirties. ZIVA: Is that old? HENDRICKS: Yeah, around these parts it is. ZIVA: I'm sorry, that was bitchy. I get that way when I'm tired. HENDRICKS: Yeah. Me, too. That'll be more searchers. I'd better go brief them. ZIVA: Do you mind if I grab a bat nap? HENDRICKS: No. Just hang from the rafters. (DOOR OPENS/ CLOSES) CUT TO: EXT. TRAIL - DAY TONY: What is it, Boss? GIBBS: The trail's too obvious. MCGEE: Rowan doesn't know that we're tracking him. GIBBS: Or he's setting an ambush. McGee, I want you thirty meters to my right. DiNozzo, thirty to my left. I'll stay on the straight. TONY: What if it is an ambush? GIBBS: I want you guys to get him before he gets me. Go! Go! Be ghosts. CUT TO: INT. CABIN - DAY (SFX: ZIVA STARTLES AWAKE) (MUSIC OVER ACTION/ZIVA PICKS UP THE RHINESTONE) CUT TO: EXT. TRAIL - DAY (MUSIC OVER ACTION/GIBBS/ MCGEE AND TONY WALK SLOWLY ALONG THE TRAIL) CUT TO: INT. CABIN - DAY (MUSIC OVER ACTION/ZIVA LOOKS FOR RHINESTONES) CUT TO: EXT. TRAIL - DAY (SFX: gn) (MUSIC OVER ACTION) LANDIS: I got him. TONY: I thought it was you, Boss. MCGEE: Me, too! WESLEY ROWAN: I ... I was trying to find Jessica. CUT TO: INT. CABIN - DAY (MUSIC OVER ACTION/ ZIVA SEARCHES THE CABIN BASEMENT) CUT TO: EXT. TRAIL - DAY GIBBS: We've got to get him to a hospital. LANDIS: We ought to just let the bastard bleed to death. GIBBS: If he dies, we may never find that girl alive. CUT TO: INT. CABIN - DAY (MUSIC OVER ACTION/ ZIVA UNLOCKS THE DOOR) CUT TO: EXT. TRAIL - DAY GIBBS: Your station can't be far. LANDIS: Maybe a quarter of a mile that way. GIBBS: You got him? CUT TO: INT. CABIN - DAY (DOOR OPENS) HENDRICKS: Jim made it in. They got Rowan. ZIVA: Call nine one one! HENDRICKS: I just did for Rowan. They're bringing him in wounded. How? ZIVA: You tell me. She was in your root cellar. MUSICAL BRIDGE TO: EXT. TRAIL - DAY GIBBS: I thought you were leading the search? LANDIS: Bobby radioed. She had fresh searchers. I was cutting back to pick them up and I spotted Rowan sneaking through the woods. GIBBS: He wasn't sneaking, he was tracking. HENDRICKS: (V.O./FILTERED) Jim, this is Bobby. Officer David found Jessica fg. She was in your root cellar. Jim? Jim, do you read me? LANDIS: Drop that gn. HENDRICKS: (V.O./FILTERED) Jim, are you there? GIBBS: How many? LANDIS: Twenty seven. No, twenty six. Can't count Jessica. I didn't finish with her. (SHOUTS) Drop that gn! (MUSIC OVER ACTION) MCGEE: Take him! Take him! TONY: No, no, no. Leave him. MCGEE: We gotta help Boss. TONY: He doesn't need your help. Look at him! (F/X: LANDIS RUNS ACROSS THE CLEARING) (SFX: gn) (SFX: LANDIS MOANS B.G.) MCGEE: Boss didn't...? TONY: Nah. He wouldn't do a thing like that. (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x17 - Ravenous"}	foreverdreaming
MUSIC IN: EXT. SCHOOL - DAY JOE: Hey! Hey! You got a problem with living? Uh-oh, you feeling frisky today, Meyers? Make your move. I'm begging you. (SFX: BELL RINGS) JOE: I didn't think so. CUT TO: INT. CLASS ROOM - DAY NADIA: Kody, are you okay? JOE: Oh look, he's following me. I think he's in love. (MUSIC OVER ACTION/GIRL RUNS FROM THE CLASSROOM) (DOOR CLOSES) KODY: No one else leaves! (SHOUTS) Okay?! (FADE OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: EXT. SCHOOL - DAY "BAIT" (SIRENS/CROWD SOUNDS) TONY: Gibbs is already on the scene. You two follow my lead. It's not my first time at this particular kind of dance. ZIVA: Yeah, I've been through a few myself, Tony. MCGEE: Well, you know what? I've played "Counter Strike" online. It's pretty realistic. TONY: Well, you only get one life here, Elf Lord. GIBBS: The kid's in a classroom in the south wing. SRT's set up a command post in the east wing. McGee, Ziva, recon the exterior. Put the gear down. DiNozzo. With me. TONY: On your six, Boss! CUT TO: INT. ADMIN OFFICE - DAY WISE: Target's name is Kody Meyers, fifteen years old. According to the witness, he came to class with a bmb strapped to his chest. We set a perimeter outside the classroom. Evacuated all nonessentials. EOD's on site sweeping for secondaries. TONY: How many hostages? WISE: Four, maybe five. My men are doing a head count on the student body. GIBBS: The witness describe the device? WISE: She was rushed to emergency. Being treated for a panic attck. GIBBS: DiNozzo, find out who Kody Meyers is. Get his parents in here. MCGEE: On it. GIBBS: He try to make contact yet? WISE: No, Sir. Not a word. We didn't try to establish communication. We figured that was your job. CUT TO: EXT. HIGH SCHOOL - DAY (MUSIC OVER ACTION) MCGEE: Ziva! Ziva! ZIVA: I am here! We need to be stealthy. (MUSIC OVER ACTION) (SFX: MCGEE'S SHOES SQUEAK LOUDLY) MCGEE: New shoes. ZIVA: I'm going to that transformer. MCGEE: Okay. ZIVA: I meant alone. MCGEE: Gotcha. (MUSIC OVER ACTION) (F/X: ZIVA RUNS TO THE SIDE OF THE BUILDING) (SFX: ZIVA TAKES PICTURES) ZIVA: Come on, boy. Show me your bmb. (MUSIC OVER ACTION/STUDENTS CLOSE THE BLINDS) CUT TO: INT. CLASS ROOM - DAY STEPHANIE: It's okay.(SFX: NADIA GASPS FOR BREATH) KODY: Stop doing that! NADIA: (GASPS) I... can't... help... it. KODY: You've got to try! What? What? What's wrong with her? STEPHANIE: She has asthma, Kody. KODY: W-What does she need? Water or something? STEPHANIE: She needs her inhaler. KODY: It's not here. Where is it? STEPHANIE: (GASPS) Locker. CUT TO: INT. HALLWAY - DAY WISE: Classroom is around the corner, second door on the right. The rooms can only be locked with a faculty key. Kody wouldn't have access. My tac team is ready to go. snpers are moving into position outside, if you want to take him down. GIBBS: Any other way into the room? WISE: One door and a wall of windows. Blueprints are on the way so we can check for ducts. TONY: (WHISPERS) Boss! Sorry. (TONY WALKS TO GIBBS) TONY: I found Kody's father. He was at a conference in Washington D.C. MPs are escorting him now. I just thought you'd want to know before you go in there. I'll head back now. GIBBS: Kody Meyers! CUT TO: INT. CLASS ROOM - DAY GIBBS: (MUFFLED) Special Agent Gibbs, NCIS. Kody! KODY: Get away from the door! CUT TO: INT. HALLWAY GIBBS: Talk to me first. CUT TO: INT. CLASS ROOM - DAY KODY: (YELLS) Get away from the door or I... I blow this thing! CUT TO: INT. HALLWAY - DAY GIBBS: All right. CUT TO: INT. CLASS ROOM - DAY KODY: I'm sending someone out. (TO STEPHANIE) Make sure you're the one who brings it back, okay?(NADIA GASPS) CUT TO: INT. HALLWAY - DAY STEPHANIE: (V.O.) I'm coming out! GIBBS: Debrief her. TONY: It's okay.(DOOR CLOSES) CUT TO: INT. ADMIN OFFICE - DAY STEPHANIE: I need to get Nadia's inhaler. TONY: We're getting it. STEPHANIE: She needs it! TONY: I know, that's what we're doing. STEPHANIE: She can't breathe! TONY: Stephanie, we're getting it from her locker, okay? Tell me what happened. STEPHANIE: I was in homeroom and I heard Joe messing with Kody. And then all of a sudden it got really quiet. And I looked up and Kody unzipped his sweatshirt. (CRIES) And he had a bmb! TONY: Okay, what kind of bmb? STEPHANIE: (CRIES) Like in the movies! It was strapped to his chest! TONY: Okay, that's really good, Stephanie. Was he calm? STEPHANIE: He was acting really weird. He'd... he was talking to himself. TONY: Okay. STEPHANIE: What about Nadia? TONY: We're helping her. That's what we're doing right now. Okay, all right. I know this is hard. Stephanie, I need you to hold it together. Can you do that? Okay. Tell me a little bit about Kody. STEPHANIE: He transferred this year. He's like a loner. The football players, they'd screw with him. But they screw with everyone. TONY: Okay. STEPHANIE: Oh my god! Is that what this is about? TONY: Could be. STEPHANIE: (CRYING) He's going to blow everyone up! GIBBS: No he's not. Stephanie, it's going to be okay. MCGEE: Boss, I got the inhaler. GIBBS: See? STEPHANIE: I have to take it to her! That's what he said. He said I have to get the inhaler and I have to bring it back to her. GIBBS: We'll take it to her. STEPHANIE: She needs it! GIBBS: Okay, calm down. DiNozzo, get her a drink. TONY: You got it. GIBBS: Okay, (MUSIC OVER ACTION/TONY WALKS O.S.) MCGEE: Boss, you're not going to really send her back in there, are you? Of course not. You've got a plan. What exactly-- GIBBS: Got background on Kody yet? MCGEE: I do. Searched the school records. He's an average student, member of the chess club. He's also a junior U.N. GIBBS: Background is useful, McGee. MCGEE: Well, we've got a team right now at Kody's house collecting his computer, personal effects, to transport back to Abby's lab. I'm going to go back there and supervise. Okay. (PASSAGE OF TIME) GIBBS: What is this? Robby the Robot? WISE: Sort of. It can climb stairs, negotiate corners, unlock doors. ZIVA: Impressive. Will it convince Kody to surrender? WISE: No. But it will deliver the inhaler to the sick student without endangering anybody else. And its camera might get a video of the bmb. GIBBS: I don't trust anything controlled by a videogame thing. WISE: I've seen one of these cross a minefield while under heavy fre in Iraq, Agent Gibbs. GIBBS: How long until this P.O.C. is ready, Captain? WISE: There's a problem with the software, just have to run a quick diagnostic and... twenty minutes? GIBBS: We don't have twenty minutes. Ziva, tell Tony channel two. ZIVA: Channel two. CUT TO: INT. HALLWAY - DAY (MUSIC OVER ACTION/GIBBS WALKS TO THE CLASSROOM) CUT TO: INT. CLASSROOM - DAY (DOOR OPENS) (SFX: NADIA GASPS FOR BREATH) (MUSIC OUT) MUSIC IN: INT. CLASS ROOM - DAY (NADAI GASPS FOR AIR B.G.) KODY: What the hell are you doing here? GIBBS: Nadia's inhaler. KODY: Stephanie was supposed to bring it! Where's Stephanie? GIBBS: Safe. KODY: No! This is all wrong. GIBBS: Give this to Nadia. I'll make it right. KODY: I'm in charge here! Not you! GIBBS: You're in charge, Kody. KODY: Get Stephanie back in here! GIBBS: I'm not going to do that. KODY: You're klling everyone! GIBBS: I'm not the one wearing the bmb. I am giving this inhaler to Nadia now. (SFX: NADIA USES THE INHALER) (SFX: NADIA BREATHES) GIBBS: (TO NADIA) Better? KODY: She's fine now, get out! GIBBS: I'm a valuable hostage, Kody. KODY: More valuable than a room full of kids? (SHOUTS) Get out now or we all die!!! GIBBS: You're surrounded by Marines who all think you're crazy. Kody, I'm the last chance you have of getting out of here alive. KODY: Shut the door! Search him. Like they do on Cops! Empty his pockets! CUT TO: INT. ADMIN OFFICE - DAY ZIVA: Now I know why Gibbs didn't go armed. Where's Stephanie? TONY: With her folks. KODY: (V.O./FILTERED) Check his ankles! TONY: This kid is pretty smart. ZIVA: He's not just smart. He's trained. KODY: (V.O./FILTERED) Put everything you find on the desk. ZIVA: This could be a political statement. KODY: (V.O./FILTERED) Come on! TONY: He's a fifteen year old kid. ZIVA: Well I've seen twelve year old su1c1de bmb in Israel. TONY: He's not a trror1st. ZIVA: Well then he's obviously mentlly disturbed. And if that's the case, well, I think-- TONY: I know, that's not good. CUT TO: INT. CLASS ROOM - DAY JOE: He's clean, Kody. KODY: Check his ears! JOE: For what? KODY: Do it! JOE: The guy's wearing some sort of hearing aide. KODY: Take it out. Check his wrists. Step on both of them. (SFX: CRUNCH) CUT TO: INT. ADMIN OFFICE - DAY ZIVA: He is very well trained. TONY: We need eyes in that classroom. ZIVA: SRT snaked cameras through the vents here and here. Both were taped shut. Kody was covering his plates. TONY: Bases. What about that door? CUT TO: INT. CLASS ROOM - DAY KODY: Now make sure you cover every crack! JOE: (V.O.) Okay, I'm on it. KODY: You have no idea what you're dealing with here. CUT TO: INT. LAB - DAY MCGEE: I think it's safe to say that Kody's got some suicidal tendencies. You should see his webpage. It's all about death and dying. The kid is obsessed. ABBY: So what's your point? MCGEE: My point is he finally worked up the nerve to do something about it. ABBY: It's not the kids that talk about dying that you have to worry about, Timmy. It's the ones who stay quiet. MCGEE: Abby, I've been in this kid's room, okay? It's all black. It's got skulls everywhere. He listens to death metal. ABBY: Oh. MCGEE: There is nothing wrong with those things if you are an adult. ABBY: McGee, you slaughter people online. Are you going to become a mass mrder? MCGEE: I did not take my classroom hostage. ABBY: Yeah. Did you ever think about it? You said the bmb sniffing dogs didn't alert to anything in Kody's house. I haven't found explsive markers on any of his clothing or his effects. He didn't visit any bmb-making websites. And these photos... they show us nothing. Maybe his bmb is fake? MCGEE: Do you believe that? ABBY: No. CUT TO: INT. CLASS ROOM - DAY GIBBS: We can end this now, Kody. Tell me what you want. I'll get it for you. KODY: I'm not making demands until I speak to a negotiator. GIBBS: I am the negotiator. KODY: They wouldn't send the negotiator busting through the door. I'm not stupid. GIBBS: No one says you are. KODY: Just be quiet! Hurry up! GIBBS: Relax, Kody. KODY: (SHOUTS) Stop saying my name! You know, you're not gonna build a relationship with me. So keep talking and I really will end this now! (SFX: NADIA SOBS B.G.) KODY: Nadia. Nadia, you have to stop that, please. Please? NADIA: Can't... I can't. GIBBS: She's scared, Kody. KODY: Yeah, like she's the only one. GIBBS: You're right. We're all scared. They just want to go home and see their parents. KODY: See, you're expecting me to identify with them, huh? See them as people, so it'll make it harder for me to do anything. GIBBS: They are people, Kody. KODY: (SHOUTS) Stop saying my name! One more word... and I press this button. CUT TO: INT. SHEPARD'S OFFICE - DAY (KNOCK ON DOOR) CYNTHIA: Director Shepard, Doctor Mallard is here to see you. SHEPARD: Send him in, Cynthia. DUCKY: Anything new? SHEPARD: I just got off the phone with DiNozzo. Still no contact. DUCKY: What exactly happened? SHEPARD: Jethro happened, Ducky. He went in to deliver a sick girl's inhaler, and got invited to stay. DUCKY: Yeah, but how could he-of course. He probably planned the whole thing. SHEPARD: Jethro doesn't plan, Ducky. He follows his damn gut. DUCKY: Well, it usually serves him well. SHEPARD: It also gets him into trouble. DUCKY: You would only be a hindrance down there. SHEPARD: What makes you think...? DUCKY: You're wearing your sidearm. SHEPARD: Gibbs was my partner, Ducky. For a long time. I cannot just sit by here and do nothing. DUCKY: Well of course, not. Nobody expects you to do nothing. SHEPARD: Cynthia! I want a direct feed into DiNozzo's command post, ASAP. CYNTHIA: Yes, Director. DUCKY: That is a good decision, Director. SHEPARD: I'll believe that, Ducky, when the situation is defused. DUCKY: Right. MUSICAL BRIDGE TO: INT. ADMIN OFFICE - DAY TONY: W.W.G.D.? ZIVA: Is that a wapon acronym? TONY: No. It stands for "What Would Gibbs Do?" ZIVA: Well it's too bad we can't ask him. TONY: Captain, your team's are in place? WISE: We've got three snpers in position, Sir. If the target looks out the blinds again...? TONY: No one takes a sht unless I clear it. You're with me. ZIVA: Where are you going? TONY: To talk to Kody. MUSICAL BRIDGE TO: INT. CLASS ROOM - DAY GIBBS: You want to stay away from the window's, Kody. KODY: What, because of snpers? They won't sh*t a kid. GIBBS: I wouldn't count on that. (bat) It's not too late to fix this. KODY: You're going to reason with me? Go ahead. No, really. Go ahead. Convince me I'm not in trouble. GIBBS: No. You're in trouble. How much is up to you. KODY: What'd you just do? GIBBS: Nothing. Just stretching my arms. KODY: You just... you just did something! What was it?! TONY: (V.O.) Kody, this is Special Agent DiNozzo. CUT TO: INT. HALLWAY - DAY TONY: How's Nadia? CUT TO: INT. CLASS ROOM - DAY KODY: She's fine for now. TONY: (V.O.) How are the other kids? KODY: They're fine, okay?! CUT TO: INT. HALLWAY - DAY TONY: I'm going to have to take your word on that. But I'm going to need some proof, Kody. Open the door. KODY: (V.O.) No! CUT TO: INT. CLASS ROOM - DAY KODY: No way! You try to get in here... I'm... I'm setting this off! CUT TO: INT. HALLWAY - DAY TONY: (V.O.) No one's coming in. CUT TO: INT. CLASS ROOM - DAY TONY: (V.O.) I'd like to speak to Special Agent Gibbs. GIBBS: Everybody's okay, Boss. CUT TO: INT. HALLWAY - DAY TONY: Well, that's good to hear... Special Agent Gibbs. KODY: (V.O.) Your agent says he's a negotiator. TONY: Well, that's right. He's my best man. CUT TO: INT. CLASS ROOM - DAY KODY: Your best man's a moron for getting caught in here. CUT TO: INT. HALLWAY - DAY TONY: He always had an attitude problem. We're all going to work on this together. What do you say to that, Kody? CUT TO: INT. CLASS ROOM - DAY KODY: You know, I want the man in charge. Not the field commander. The one who makes the final decision. CUT TO: INT. HALLWAY - DAY TONY: That's me, Kody. CUT TO: INT. CLASS ROOM - DAY KODY: If I ask for an airplane and a million dollars, would you just give it to me? CUT TO: INT. HALLWAY - DAY TONY: Is that what you want? CUT TO: INT. CLASS ROOM - DAY KODY: Answer my question! CUT TO: INT. HALLWAY - DAY TONY: I'll make some calls. CUT TO: INT. CLASS ROOM - DAY KODY: (LOUDLY) Are you the man or not!? CUT TO: INT. HALLWAY - DAY TONY: I'm the one you want. CUT TO: INT. CLASS ROOM - DAY KODY: Bring my mother to the classroom. CUT TO: INT. HALLWAY - DAY KODY: (V.O.) No deals, no stalling. CUT TO: INT. CLASS ROOM - DAY KODY: You have until sundown. If you... if you can't do that, then.... everyone dies. CUT TO: INT. ADMIN OFFICE - DAY MEYERS: I want to see my son. ZIVA: That's not happening, Major. MEYERS: The hell it's not! ZIVA: Calm down. MEYERS: I need to see he's okay. TONY: Aside from holding five people hostage, he's doing great. ZIVA: What does Kody want? TONY: He wants his mother brought to him. MEYERS: Oh, god! ZIVA: What? MEYERS: Kody's mother is dad. (MUSIC UP AND OUT) MUSIC IN: INT. ADMIN OFFICE - DAY MEYERS: She died a year ago. A boating accident. Angela liked sailing. Kody took it... well, we all took it hard. ZIVA: Clearly. MEYERS: Kody's had some difficulties, but he's never acted out before. ZIVA: Your son strapped a bmb to his chest, kidnapped his homeroom, and is demanding to see his dad mother. I'd say he's past the acting out stage, Major. And frankly... MEYERS: Let me talk to him. I can calm him down. I can get him out of there. TONY: Contact with you may only exasperate the situation. MEYERS: He's my son! He's having a breakdown. His mind is playing tricks on him. TONY: Tricks? What kind of tricks? (bat) Listen, if this is going to end well, we need all the intel you can give us on your son. MEYERS: Kody thought he saw his mother a couple of months ago. ZIVA: Alive? MEYERS: His therapist said it's completely normal, a coping mechanism. A lot of people imagine seeing dad loved ones. TONY: Well, it's the part where he wants to talk to her that's got us a little worried. MEYERS: I saw the SRT teams outside the school. I know what comes next. I'm begging you, please, give my boy a chance. TONY: We're going to do everything we can to get all those kids out of there safely, Major. All of them, including your son. MEYERS: Thank you. CUT TO: INT. CLASS ROOM - DAY GIBBS: There are easier ways to see your mother, Kody. KODY: It's none of your business. GIBBS: You made it my business when you thrat their lives. KODY: It's not up to me, okay? GIBBS: Well, who is it up to, Kody? KODY: (GASPING) You can't fix this! No one can fix this. GIBBS: I don't want to fix it. I want to end it. KODY: You just have the answers for everything, don't you? (KODY STUMBLES) KODY: No! No! Don't touch me! TONY: (V.O.) Kody! CUT TO: INT. HALLWAY - DAY TONY: Is something wrong in there? CUT TO: INT. CLASS ROOM - DAY KODY: (SHOUTS) What the hell are you doing here?! CUT TO: INT. HALLWAY - DAY TONY: Giving you an update. CUT TO: INT. CLASS ROOM - DAY TONY: (V.O.) I want you to know that Special Agent Kaitlyn Todd is out looking for your mom. KODY: Don't come back until you find her! I... I won't tell you again! TONY: (V.O.) All right, I'm going. CUT TO: INT. HALLWAY - DAY WISE: How are you going to tell Gibbs the kid's mom's dad? TONY: I already did. Special Agent Todd is dad. (INTO PHONE) DiNozzo.(PHONE RINGS) CYNTHIA: (V.O./FILTERED) Hold for the Director. CUT TO: INT. SHEPARD'S OFFICE - DAY SHEPARD: He wants his dad mother brought to the classroom? TONY: (V.O./FILTERED) He won't accept she's dad. He thinks he saw her recently. DUCKY: It's not an unusual fantasy in grief. SHEPARD: That's an impossible demand. TONY: (V.O./FILTERED) I know, Director. I'm working on it. SHEPARD: Define working on it, Agent DiNozzo. CUT TO: INT. HALLWAY - DAY TONY: (INTO PHONE) SRT's in place. Working on getting visual access into the room and a way to contact Gibbs. SHEPARD: (V.O./FILTERED) And? TONY: (INTO PHONE) And we're just getting started. SHEPARD: (V.O./FILTERED) What's your deadline? TONY: (INTO PHONE) Sundown. About five hours. CUT TO: INT. SHEPARD'S OFFICE SHEPARD: How powerful is the bmb?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) TONY: (INTO PHONE) Uh, don't know yet. Sciuto and Agent McGee are going through the kid's computer and everything found in his room. (SCENE CUT) TONY: (V.O./FILTERED) Trying to work out what the explsive is. SHEPARD: Does he have a dad-man switch? (SCENE CUT) TONY: (INTO PHONE) Hoping Sciuto and McGee can tell us that. (SCENE CUT) SHEPARD: And if he doesn't? (SCENE CUT) TONY: (INTO PHONE) You want me to take him out. (SCENE CUT) SHEPARD: It may be your only option. TONY: (V.O./FILTERED) I'd like to get them all out alive, Director... (SCENE CUT) TONY: (INTO PHONE) .... Including Kody. SHEPARD: (V.O./FILTERED) I agree. (SCENE CUT) SHEPARD: But if it's not possible, I need to know that you're capable of making the call. (SCENE CUT) TONY: (INTO PHONE) I've done it before. SHEPARD: (V.O./FILTERED) On a fifteen year old? If the time comes... (SCENE CUT) SHEPARD: ..... You cannot hesitate. You cannot... (SCENE CUT) SHEPARD: (V.O./FILTERED) ... Second guess yourself. TONY: (INTO PHONE) Okay, if you don't trust me, I suggest you relieve me. Otherwise, leave me alone. I've got work to do, Ma'am. (END TELEPHONE INTERCUTS) ZIVA: She asked if you had the calzones for this, yes? TONY: Cajones. ZIVA: Do you? CUT TO: INT. SHEPARD'S OFFICE SHEPARD: Gibbs has rubbed off on him. DUCKY: Well, that's a positive thing. SHEPARD: He isn't Gibbs, Ducky. DUCKY: No, but he's very capable. The boy's mother? SHEPARD: Yes. Cynthia? CYNTHIA: (V.O./FILTERED) Ma'am. SHEPARD: I need the NCIS case file on the drowning of Marine dependent Angela Meyers. CYNTHIA: (V.O./FILTERED) Right away, Ma'am. DUCKY: What are you up to? CYNTHIA: The boy wants his mother. We may have to give her to him. MUSICAL BRIDGE TO: INT. LAB - DAY ABBY: There is no way that kid assembled that bmb at his house. MCGEE: Um-hmm. ABBY: Which means? (bat) Which means he either made it somewhere else, or someone helped him. What do you think? MCGEE: Sounds good. (ABBY HITS MCGEE) MCGEE: What? What was that for? ABBY: Not paying attention to me. I'm trying to tell you I think there's more kids out there. This could be part of a larger plan. MCGEE: I don't think so. Kody believes his mother is still alive. Look at this. He's sending her photo all over the web, asking if anyone's seen her. He expects us to find her. ABBY: This could be a good thing. There were no traces of explsives at his house. No bmb making materials. There were no plans or schematics for construction on his computer. The bmb has got to be a fake! I hope. MCGEE: Ooo! Ooo! Oh, wow. ABBY: Wow what? MCGEE: It would help if you could get a better look at it, right? ABBY: Yeah, how are we going to do that? MCGEE: Look at this. Three computers in the back of the classroom. ABBY: With webcams and mics. MCGEE: All we have to do is hack in. ABBY: And we'll have eyes and ears and we can see the bmb. MCGEE: Hey! ABBY: We should have thought of that hours ago. Don't be gentle. MCGEE: I'm not going to ht you. ABBY: Come on! I deserve it. MCGEE: No. ABBY: Elf lord. CUT TO: INT. HALLWAY - DAY ABBY: (V.O.) Ow! CUT TO: INT. ADMIN OFFICE - DAY TONY: I don't see squat, Probie. MCGEE: (V.O./FILTERED) Tony.... CUT TO: INT. LAB - DAY MCGEE: Are your laptops even on? CUT TO: INT. ADMIN OFFICE - DAY TONY: Probie, now is not the time. CUT TO: INT. LAB - DAY ABBY: Wait, Tony. It's on our end, okay? It's still buffering. CUT TO: INT. ADMIN OFFICE - DAY ABBY: (V.O./FILTERED) That should do it. ZIVA: You are amazing, Abby. CUT TO: INT. LAB - DAY MCGEE: Actually, that was my idea - would you stop doing that?! (V.O./FILTERED) Hey, cut that out! ABBY: Ah! CUT TO: INT. CLASS ROOM - DAY KODY: Oh, why is it so hot in here? GIBBS: You can walk away from this. KODY: Do... do you have any idea what they will do to me if I walk out of this building? GIBBS: No one will touch you. KODY: You have no idea. GIBBS: I won't let them, Kody. (ON MONITOR) GIBBS... WE CAN SEE YOU (NADIA GASPS) KODY: What'd you.... what'd you just do?! What just... what just happened? NADIA: I... I don't... GIBBS: She dropped her inhaler. Let Nadia go, Kody. As a sign of good faith while we look for your mom. KODY: No one leaves! Do you get this!? CUT TO: INT. ADMIN OFFICE - DAY ZIVA: Electro blasting caps wired into a central circuit board. Four visible charges, all equipped with nails to inflict maximum shrapnel damage. This is no fake bmb, Tony. Good news. The detonator appears to be remote in his hand. TONY: Good news? ZIVA: Well, it doesn't seem to be a dad-man's switch. A head sht will stop this without setting off the bmb. TONY: Just like that. A head sht. ZIVA: Oh, yeah. CUT TO: INT. CLASS ROOM - DAY (ON MONITOR) MOM IS dad... LAST YEAR GIBBS: Tell me about your mom, Kody. Doesn't she want to see you? KODY: Don't say that! GIBBS: I'm just wondering why you're thrat to blow all of us up just to see her. KODY: Because I... I do, okay? GIBBS: She's dad, Kody. KODY: I know. (bat) I know I saw her! Shut up! Shut up! Just... just... CUT TO: (GASPING B.G.) EXT. ROOFTOP - DAY snper: Target acquired. CUT TO: INT. ADMIN OFFICE - DAY snper: (V.O./FILTERED) I say again, target is acquired. WISE: We may not get another chance, Sir. CUT TO: EXT. ROOFTOP - DAY snper: Do I have a go? Over. CUT TO: INT. ADMIN OFFICE - DAY ZIVA: Tony? CUT TO: EXT. ROOFTOP - DAY snper: The sht is still good, Sir. Over. CUT TO: INT. ADMIN OFFICE - DAY WISE: Sir, we're going to lose the target. TONY: He's not a target. He's a fifteen year old boy who misses his mom. (V.O./FILTERED) All snper units stand down. CUT TO: EXT. ROOFTOP - DAY TONY: (V.O./FILTERED) Do not take the sht. snper: All units stand down. CUT TO: INT. ADMIN OFFICE - DAY ZIVA: Why? TONY: It's a Gibbs' thing. My gut. CUT TO: INT. CLASS ROOM - DAY KODY: Stop! Don't! What are you doing? Just get away from me! CUT TO: INT. ABBY'S LAB - DAY ABBY: He's signing. MCGEE: What's he saying? ABBY: I can't tell. He's not being obvious about it. Wait. Puppet. Yes! Puppet. What does that mean? MCGEE: I don't know. ABBY: Wait, not puppet. It's marionette. He's saying that somebody's pulling Kody's strings. MCGEE: Wait, like controlling him? ABBY: Not just controlling him, McGee. Controlling the bmb. (MUSIC OUT) MUSIC IN: INT. LAB - DAY ABBY: If somebody's controlling Kody, they have to be talking to him. MCGEE AND ABBY: (IN UNISON) Earwig! MCGEE: Ask Gibbs. Wait, hold it! Hold it! Send it now! (ON MONITOR) EARWIG? KODY: (V.O./FILTERED) Why'd you just nod? CUT TO: INT. CLASS ROOM - DAY GIBBS: What? CUT TO: INT. LAB - DAY KODY: (FILTERED) You just nodded. GIBBS: (FILTERED) Did I? KODY: (FILTERED/SHOUT) Yes! MCGEE: How did he see that? His back was to Gibbs. GIBBS: (V.O./FILTERED) I don't know. Nervous. Jumpy. CUT TO: INT. CLASS ROOM - DAY GIBBS: I guess. KODY: Are you signaling someone in this room? GIBBS: No. I swear. CUT TO: INT. LAB - DAY ABBY: They're not just talking to Kody. They have eyes in the classroom too, McGee. MCGEE: Tony, did you copy that? TONY: (V.O./FILTERED) Roger. CUT TO: INT. ADMIN OFFICE - DAY TONY: Dirtbags have eyes and ears in the classroom. ZIVA: Good. TONY: Good? ZIVA: We backtrack the feeds. It'll lead us to them. WISE: Earwigs have a limited range and only a handful of frequencies. We have the equipment here to sweep. TONY: Do it. WISE: Yes, Sir. (V.O.) Get the equipment. Set up for frequencies. TONY: Abby, SRT... CUT TO: INT. LAB - DAY TONY: (V.O./FILTERED) ... Is sweeping earwig freqs to trace the source. Can you guys do the same thing with the eyes? ABBY: McGee? MCGEE: We have three computers with webcams in the back of the classroom. We're using one of them. They must be using... ABBY: The one with the blocked router! The one we couldn't get into? CUT TO: INT. ADMIN OFFICE - DAY TONY: How long? MCGEE: (V.O./FILTERED) Depends. They could be .... CUT TO: INT. LAB - DAY MCGEE: .... Using counter attck software. CUT TO: INT. ADMIN OFFICE - DAY MCGEE: (V.O./FILTERED) If they're using a sophisticated encryption system... CUT TO: INT. LAB - DAY MCGEE: It could be a hundred and eighty to two hundred and fifty six bit... TONY: (V.O./FILTERED) Probie! MCGEE: On it, Boss. Tony. CUT TO: INT. ADMIN OFFICE - DAY ZIVA: What? TONY: He called me Boss. ZIVA: Yeah, he'll never live that down. TONY: Nope. CUT TO: INT. CLASS ROOM - DAY NADIA: What happens if they can't find your mom, Kody? KODY: You know what will happen! JOE: Kody, just let us go, man. KODY: (SHOUTS) Shut up! (SFX: NADIA CRIES) KODY: Just don't... don't ask me that again. Okay, Nadia? NADIA: (CRYING) Okay. GIBBS: You don't want to carry out your thrat, do you, Kody? KODY: No. (bat) But I will if I don't talk to my mother. GIBBS: Talk or see? We might have time... KODY: See! See! I have to see her right here in my homeroom! GIBBS: I'm just saying that talking to her might give us more time. KODY: (SHOUTS) There is no more time, okay?! She has to be here before sunset!! GIBBS: Nautical, civilian or astronomical? KODY: What? GIBBS: Which sunset? There are three. KODY: Before it gets dark. GIBBS: Astronomical. CUT TO: INT. ADMIN OFFICE - DAY TONY: How's it coming, Captain? WISE: Narrowing it down. TONY: I can't stand doing nothing while everyone else is working. ZIVA: Well then do something. TONY: Any suggestions, Zee-va? ZIVA: Yes, DiNozzo. We didn't really have time to question Major Meyers. He may be able to tell us who's controlling his son. TONY: Captain, have your men bring Major Meyers in here. WISE: That's going to be a problem. The Major was taken to NCIS Headquarters. TONY: I didn't authorize that. WISE: No, Sir. Your boss did. TONY: My boss is a hostage right now. I don't think he's authorizing much of anything. WISE: Not that boss, Sir. TONY: He's the only boss I have. ZIVA: Ah ah ah ah. You are forgetting the Director. MUSICAL BRIDGE TO: INT. SHEPARD'S OFFICE - DAY MEYERS: I'm an amphibious warfare instructor at Command and Staff, Quantico. SHEPARD: Are you involved in anything sensitive? MEYERS: You mean like secret? No. What does this have to do with my son? SHEPARD: Someone is controlling him. MEYERS: So this isn't his idea? SHEPARD: I doubt it. MEYERS: Thank god. SHEPARD: He still has a bmb strapped to his chest. MEYERS: Yeah. SHEPARD: Why would they have him asking for his mother? MEYERS: I... have no idea. SHEPARD: How long did you know her? MEYERS: Since college. We were married eighteen years when she died. DUCKY: What did she do? MEYERS: Grade school teacher. Look, Angela had no dark side. She loved me. She loved Kody. Whoever's doing this must have her confused with someone else. SHEPARD: You're probably right. Thank you for your cooperation, Major. MEYERS: What are you going to do? SHEPARD: Get him out alive. MEYERS: Thank you. (DOOR OPENS) (MEYERS WALKS O.S.) (DOOR CLOSES) DUCKY: You really think this is a bizarre case of mistaken identity? SHEPARD: Doesn't really matter. Every scenario plays out exactly the same. The only way this can end well is if we find Angela Meyers. DUCKY: And if she is dad? CUT TO: INT. ADMIN OFFICE - DAY ZIVA: The detonator in Kody's hand is a prop. The people controlling him have the real one. TONY: You think? ZIVA: Yes. I think shting Kody wouldn't have saved anybody in that classroom. Doesn't make you Gibbs. TONY: Someone went to a lot of trouble to raise Angela Myers from the grave. ZIVA: Well, obviously he, she or they don't believe she's dad. They intend to kll her with a big boom. TONY: And blame it all on Kody.(SFX: BEEP TONES) WISE: Got the freq on Kody's earwig! TONY: Where are they? WISE: Don't know. They're communicating in short bursts. We can't get an accurate fix. CUT TO: INT. VAN - DAY RICO: The sunset esta muy hermosa, Kody. Enjoy it. It will be your last if .... CUT TO: INT. CLASS ROOM - DAY RICO: (V.O./FILTERED) .... Your mama doesn't show. KODY: Look, we're... we're running out of time. Where's my mother? GIBBS: Let me talk to my... (V.O./FILTERED) to my boss. I'll get a progress report. RICO: (V.O./FILTERED) Okay, put the cell phone on speaker. KODY: Do it. Put it on speaker. (PHONE RINGS) CUT TO: INT. ADMIN OFFICE - DAY TONY: (INTO PHONE) DiNozzo. GIBBS: (V.O./FILTERED) Hey Boss, have you located Kody's mother yet? TONY: (INTO PHONE) Agent Todd has her (V.O./FILTERED) phone number and is trying to make contact. CUT TO: INT. CLASS ROOM - DAY RICO: (V.O./FILTERED) Get the number! KODY: What is the number? CUT TO: INT. ADMIN OFFICE - DAY TONY: (INTO PHONE) I don't know, Kody. CUT TO: INT. CLASS ROOM - DAY TONY: (V.O./FILTERED) Agent Todd is on it. RICO: (V.O./FILTERED) Get the number! KODY: (SHOUTS) I want the number! GIBBS: Better get him the number (V.O./FILTERED) Boss. TONY: (V.O./FILTERED) I'll contact... CUT TO: INT. ADMIN OFFICE - DAY TONY: (INTO PHONE) ...Agent Todd and get back to you. (END TELEPHONE INTERCUTS) ZIVA: You had to say you had her number? TONY: I know. I know it wasn't... ZIVA: A mistake Gibbs would have made? WISE: Sir, EOD's been studying the pictures of the bmb vest. This is the remote to the detonator. One sht could destroy it. ZIVA: And Kody. WISE: There's more than just one life at stake here, Ma'am. TONY: (INTO RADIO) McGee, tell me you're making... CUT TO: INT. LAB - DAY TONY: (V.O./FILTERED) ... Progress. MCGEE: I'm making progress, Tony. (V.O./FILTERED) Back tracing their connection (INTO PHONE) to the classroom computer now. Okay, they're in Triangle, Virginia. ABBY: Piggy backing off a wi-fi node at the warehouse outside the main gate. MCGEE: I'm sending you the address. Now do you want us to cut... CUT TO: INT. ADMIN OFFICE - DAY MCGEE: (V.O./FILTERED) ... Their connection to the webcam? TONY: (INTO PHONE) Negative, Probie. I've got a better idea. CUT TO: INT. LAB - DAY MCGEE: You know what, Tony? This might actually work. CUT TO: INT. ADMIN OFFICE - DAY TONY: Don't sound so surprised, Probie. CUT TO: INT. LAB - DAY ABBY: Oh, he's right, Tony. We should have thought of it. MCGEE: Ow! ABBY: Ow! TONY: (V.O./FILTERED) What the hell was that? ABBY: McGee tripped. TONY: (V.O./FILTERED) Trip on your own time, Probie. Can you make it happen or not? ABBY: The problem is finding the right stream to mirror, Tony. MCGEE: We'll need to recreate a virtual hard drive. ABBY: To replace the physical one. MCGEE: (V.O./FILTERED) The key is the insertion phase, so we're going to need... ABBY: A natural buffering period so we won't be detected. MCGEE: Using a pretty standard code... ABBY: Which means they'll be able to retag the algorithm during decompression. MCGEE: (V.O./FILTERED) So what we need is a multi point (ON CAMERA) control unit to enable a seamless... TONY: (V.O./FILTERED) Guys, phys ed major here. ABBY: We can do this, Tony. TONY: (V.O./FILTERED) When? MCGEE: Uh... now if you want. TONY: (V.O./FILTERED) On my mark. DiNozzo out. MCGEE: What was that one for? ABBY: Pissing off Tony. Can't you tell he's under a lot of pressure? CUT TO: INT. VAN - DAY (PHONE RINGS) KODY: (V.O./FILTERED) Answer it. CUT TO: INT. CLASS ROOM - DAY GIBBS: We're here. TONY: (V.O./FILTERED) Kody, Agent DiNozzo here. I have some good news. We have your mom. KODY: (LONG bat) You found her? TONY: (V.O./FILTERED) Yes, we did. She's being escorted onto the base as we speak. She should be at the school in twenty minutes. You sit tight, we'll have a happy ending here. CUT TO: INT. LAB - DAY TONY: (V.O./FILTERED) Okay, Probie, now! ABBY: Do you actually think this is going to work? MCGEE: If I tell you the truth are you going to ht me again? ABBY: Yeah. MCGEE: Yeah. I think it's actually going to work. It has to. CUT TO: INT. VAN - DAY RICO: Do you hear those sirens, Kody? You might just survive this after all. (SFX: SIRENS B.G.) RICO: (IN SPANISH) The boss was right. She wasn't dad! But she will soon be. (SFX: BEEP TONE) RICO: (IN SPANISH) What the hell? DRIVER: (IN SPANISH) I don't know. ZIVA: (ON MONITOR) Shalom! DRIVER: (IN SPANISH) What's going on? TONY: Hola. GIBBS: Hi. Not bad, DiNozzo. Not bad at all. CUT TO: INT. SQUAD ROOM - NIGHT ABBY: That was brilliant, Tony. Looping the classroom video to the bad guys while you evac'ed the kids. MCGEE: She's right. It was a great idea, Tony. (TONY HITS MCGEE) MCGEE: Hey! TONY: Boss. It was a great idea, Boss. MCGEE: Slip of the tongue, okay? TONY: Freudian slip of the tongue. ZIVA: Oh, give it up, McGee. Some things Tony never forgets. ABBY: That's true. So Tony, what movie gave you the big idea? TONY: Movie? MCGEE: Yeah. You know, making the video of the classroom to feed back to the bad guys? TONY: It just kind of came to me, actually. ZIVA: Ooh! I saw it! They had these trrorists. TONY: Half the movies today are about trrorists. ZIVA: No no no. And they took over this bus, and it starred... um.....that actress with the name like an animal... a cow. No. Uh... ox. No, it's not that. ABBY: Bull? ZIVA: Bull! Bullock. Sandra Bullock. Yeah, and I can't remember the title of the movie, but it's... MCGEE: I'm going to look it up. I'm going to check her credits. TONY: Probie, don't you have a report to finish? MCGEE: Oh, yeah. I did it. TONY: Good for you. That's good. Ooh, wait. Stop talking. Wait. Has anyone seen Gibbs? CUT TO: INT. SHEPARD'S OFFICE - DAY SHEPARD: It takes guts to testify against Carlos Mendez. GIBBS: It took more guts to fake her death and walk away from a husband and son to protect them. SHEPARD: Eighteen years is a long time to seek revenge, even for a Colombian drug lord. GIBBS: Jen, I've got to find her. SHEPARD: No. You don't. GIBBS: You know, Kody Meyers has had one hell of a day. It's the least I can do for this kid. (DOOR OPENS) (SFX: CRYING) SHEPARD: Good to see I can still surprise you, Jethro. (MUSIC OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x18 - Bait"}	foreverdreaming
MUSIC IN: EXT. ROCK CREEK PARK - DAY JEREMY: Do you like Mom's new boyfriend? SEAN: I haven't decided yet. JEREMY: I like him. SEAN: You only like him because he bought us PSPs. JEREMY: So you don't like him? SEAN: I didn't say that. I'm just saying I wouldn't be too nice to him. We play it cool, an Xbox could be right around the corner. (bat) What's up? JEREMY: It's already March, Sean. SEAN: It's still frozen. See? Come on. Oh, chicken. (SFX: CHICKEN CLUCKING) (MUSIC OVER ACTION/JEREMY RUNS ACROSS THE ICE) JEREMY: Oh, who's the chicken now? SEAN: I'm coming!(MUSIC OVER ACTION) JEREMY: Hurry up or I'm going to tell Mom! Come on, Sean! SEAN: (GASPS) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "ICED" TONY: Apricot oil, aloe vera... shea butter? ZIVA: I didn't know you were so interested in skin care. TONY: Yeah, it's not mine. It's McGee's. Maybe the Probie is gay. MCGEE: I'm not gay, Tony. ZIVA: Are you saying there's something wrong with being gay, Timothy? MCGEE: No, that is not what I am saying. TONY: Bi-curious. I suppose now you're gonna tell us that a lot of your friends are of the hm* persuasion and that I should be more sensitive. MCGEE: No, actually, I was going to tell you to stay out of my desk. TONY: Right, because you wouldn't want word spreading that you're (READING) "Deep moisturizing to bring out your feminine glow." MCGEE: I have dry skin, okay? My doctor recommended it. TONY: (LAUGHS) Well, you're walking a slippery slope there, Probilitious. Before you know it you're going to be taking bubble baths with your clogs on. MCGEE: What is wrong with bubble baths? GIBBS: Load up. Just got a break in the Ryan Downing case. ZIVA: Downing? MCGEE: wapon Company First Sergeant. TONY: Went U.A. last November on leave from Iraq. Not a peep since. What's the break, Boss? GIBBS: Two kids found the First Sergeant floating under six inches of ice. TONY: Ice? That means... ZIVA: You're now going to make a really juvenile cold-case joke? TONY: It was a really good one, too. CUT TO: INT. ELEVATOR - DAY MCGEE: Is something wrong, Boss? GIBBS: Just admiring your feminine glow. (SFX: DOORS SLIDE CLOSED) CUT TO: EXT. PARK - NIGHT TALBOT: Can't say I'm disappointed this one's yours. We'll leave the lights if you guys return them. We've worked with NCIS before. GIBBS: What do you got? DUCKY: Hopefully not pneumonia. That could be the death of me. GIBBS: I'm talking about the dad guy, Duck. JIMMY: Technically, paramedics have a saying concerning cold-water drownings, Agent Gibbs. They say the victim isn't dad until he's warm and dad. DUCKY: I think we can make an exception in this case, Mister Palmer. GIBBS: Not a drowning. This pond's barely six feet deep. DUCKY: Yes, I once conducted an autopsy on a man who drowned in his kitchen sink. Yes, apparently he couldn't loosen the drain plug and he attempted to use his teeth. GIBBS: I thought you were cold, Duck? DUCKY: Yes, well, it will be impossible to determine the exact cause of death until he thaws. These three holes in his coat could be crucial. GIBBS: How about time of death? DUCKY: Yeah, well decomposition suggests well, anywhere from two weeks to... JIMMY: Four months. Depending on how many times the pond has thawed out this winter. DUCKY: Very good, Mister Palmer. Of course, I'll have to check the meteorological data for the area before we speculate further. Strap him up. TONY: I'm just saying, Probie, the whole metrosexual thing isn't working for you. MCGEE: I got it, Tony. Joke is over. TONY: I'm not joking, man. We all know that the ladies love a macho man who is in touch with his feminine side. But I've got to tell you, I think you're coming off... a little gay. ZIVA: Because he uses body lotion and likes to take bubble baths? I-- TONY: Did you forget the manicure? MCGEE: The manicure was only once and it was because I tore a cuticle. TONY: You just set off gay-dar across the entire Atlantic seaboard. MCGEE: Tony, I am not gay! TONY: This isn't about orientation. This is about image. ZIVA: So, now your image is hm-pubic? TONY: The term is "hm." And no. Prejudice of any kind is an ugly thing. Listen, girls like guys who like guys but they like guys who like guys who like-- MCGEE: Tony, back it up! TONY: I know. It's thick soup, man. MCGEE: The flash light! Back it up! TONY: What? Tree branch? GIBBS: Wearing a steel-toed boot? TONY: Eagle eye, Boss. GIBBS: Mark it. ZIVA: Got another one! TONY: These things always come in threes. GIBBS: Already got three, DiNozzo. MCGEE: Make it four! CUT TO: INT. AUTOPSY ROOM - DAY (SFX: SNEEZE) DUCKY: I supposed a "bless you" is too much to ask for. JIMMY: Oh, bless you, Doctor. DUCKY: I wasn't talking to you, Mister Palmer. You know, the interesting thing about the sternutatory reflex is that no one knows exactly when it first began. Many theories abound... GIBBS: And you know them all, don't you, Doctor Mallard? DUCKY: Know them? I once wrote a sonnet on the subject for an old flame. She suffered from the most horrendous allergies. Yes, how did it go? "Doth thy heart skip a bat when..." GIBBS: (OVERLAP) I'm not a big fan of poetry, Duck. DUCKY: Well, as it turned out, neither was she. In fact... GIBBS: Why am I here? DUCKY: Why? GIBBS: Why am I here? DUCKY: Oh, you were correct earlier on, Jethro. Our First Sergeant didn't drown. None of our bodies did. JIMMY: They were all sht. DUCKY: First Sergeant Downing received the most damage. Three in the chest. Here, here, and here. And one to the back, just below the heart. GIBBS: That's the kll sht. DUCKY: Yes, well it ruptured his inferior vena cava. As to our walking pictograms, one bllet each. GIBBS: Are these gng tats? DUCKY: That's not my field of expertise. But I've had Mister Palmer document the entire line for further investigation. JIMMY: Some of them were quite um... explicit. DUCKY: Jethro, this young man was sht in the front, just below the left clavicle. And this young man was sht in the back. This young man... ah... was also sht in the back. Like our First Sergeant. Back, front, front, back. The pattern is quite random. I believe the phrase is turkey sht. GIBBS: More like mssacre. TONY: (V.O.) Definitely gng tats. CUT TO: INT. SQUAD ROOM - DAY MCGEE: How can you be sure? TONY: Just a feeling. I'm sure you know what those are like, don't you, McGee? GIBBS: Feeling, DiNozzo? TONY: That, and I faxed a copy to a buddy at the Baltimore P.D. He's sending me intel that he's got back... GIBBS: What do you got? MCGEE: I have got an upper limit on the time frame. (bat) It's an ATM receipt. It used to be an ATM receipt. The ink's washed off, but the dimensions matched the receipt paper used by First Sergeant Downing's bank. I checked his records. Last withdrawal November eighteenth. GIBBS: The day he was reported missing. TONY: No I.D. on the other three ice cubes yet. But the dredge team did find a wapon. H.P. Browning. Ziva brought it down to Abby. GIBBS: Brass. TONY: Nothing. It's pretty far off the beaten track about five hundred meters from the nearest main road. You know what that means. GIBBS: The bodies were dumped. MCGEE: By who? GIBBS: That's a good question, McGee. Why don't you find me an answer? CUT TO: INT. LAB - DAY ZIVA: Okay, if you slide your heel further back it'll decrease your exposure. ABBY: Won't that throw off my lateral balance? ZIVA: Balance isn't usually the primary concern on a mission. ABBY: What is? GIBBS: The guy shting back. Which is what I'm going to start doing if you two don't get back to work. ABBY: Gibbs, I was the one waiting for you! GIBBS: What are you waiting for now, Abs? ABBY: I ran ballistics on the Browning. ZIVA: Rifling patterns indicate it didn't fre any of the slugs Ducky pulled from the First Sergeant. ABBY: Thirty nine millimeter Parabellum and a forty five. ZIVA: Which means Downing was sht by at least two unaccounted for wapon. GIBBS: I got that part. ZIVA: The dredge crew is still looking. Hopefully more wapon will turn up. ABBY: The good news is I matched the Browning to the slugs pulled from the other three victims. GIBBS: Any prints? ABBY: No, not by a long sht. And a GSR would be pointless because it's been underwater for so long. But I did run the serial number. The gn is registered to First Sergeant Ryan Downing. Looks like he went down fighting for his life. ZIVA: Or committed triple homicide. (MUSIC UP AND OUT) FADE IN: INT. MTAC ROOM - DAY SHEPARD: Jethro. GIBBS: The three bodies found with First Sergeant Downing ... SHEPARD: Were klled with his personal wapon. I heard. Where are your glasses? GIBBS: Oh, I forgot them. SHEPARD: I don't like what it says either. GIBBS: First Sergeants don't go looking for this kind of payback. SHEPARD: You would. GIBBS: I was only a gn. SHEPARD: The Marine Corps is worried his Company is going to come back from Iraq and look for revenge. It could be a bloodbath. Ah, how do you drink that swill? GIBBS: How much time do I have? SHEPARD: They were ordered to return this week. GIBBS: Were? SHEPARD: SHEPARD: The rotation's been held up 'til your investigation's over. They're still in a wr zone instead of with their families, Jethro. (CONT.) I don't care if First Sergeant Downing klled those gng bangers. If he didn't, find out who did. If he did, close the case. GIBBS: They're wrong, Jenny. You do care. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY MCGEE: Ziva? If I ask you a question, you'll be honest with me, right? ZIVA: Of course, McGee. MCGEE: What Tony was saying about me before, you know, do I come off as unmanly? ZIVA: I think Tony was jerking your brain. MCGEE: Chain? Jerking my chain? ZIVA: Whatever. I think you are appropriately masculine. However, perhaps not macho. Tony and Gibbs are tough guys. Yes? They're... MCGEE: So I'm not tough? GIBBS: If you have to ask. Are these the other victims? ZIVA: Alejandro Marquez, Jorge Rubio, and Hector "The Hammer" Menendez. All members of the L.V.M. MCGEE: L.V.M., Boss, that stands for... GIBBS: La Vida Mala. El Salvadorean street gng. ZIVA: Not just a street gng, Gibbs. They have thirty thousand members worldwide. They deal drugs, run gn... GIBBS: They also hire themselves out as ht men. ZIVA: Yes. Which is what two of their members were allegedly doing a year ago, when they mistakenly sht a Private First Class ... GIBBS: Martin Reggio. A Marine from First Sergeant Downing's company. We couldn't prove it. ZIVA: Downing was on a revenge mission. GIBBS: First Sergeants don't go on revenge missions, Officer David. ZIVA: I would. Why not a Marine First Sergeant? GIBBS: They have more control than you do. Do either one of you have anything new to offer to this? MCGEE: Yeah, Boss. I think I do. These three here, they weren't just members of LVM. According to the FBI here, they are all Lieutenants in LVMs Manassas chapter. GIBBS: The boss? MCGEE: Miguel Sosa. GIBBS: Why are we standing here? MCGEE: He's missing. He's been MIA since these three disappeared a few months ago. GIBBS: Let's go meet his replacement. DiNozzo! Where the hell have you been? TONY: I come bearing gifts. I spent the night at Rock Creek Park. And I found these when they drained the pond. ZIVA: Whoa! That's a big one. GIBBS: Are you expecting an 'atta boy? TONY: I thought it would be nice. GIBBS: 'Atta boy. TONY: I'm just doing my job, Boss. GIBBS: I know that! CUT TO: EXT. STREET - DAY MCGEE: I don't think this is the headquarters of a world wide crime syndicate.(SFX: CAR DOORS OPEN/CLOSE) ZIVA: What did you expect, McGee? Corporate headquarters building? (SFX: MUSIC PLAYS B.G.) ZIVA: They're all armed. GIBBS: Keep your eyes open. Spread out. (TO MEMBERS) Who's El Jefe? CAESAR: You are, Officer. MCGEE: Hey. We're not local cops. We're Federal Agents. CAESAR: Federales? MCGEE: Who's in charge? CAESAR: In charge? In charge of what? MCGEE: The Manassas chapter of La Vida Mala. CAESAR: Inside. CUT TO: INT. RESTAURANT - DAY TOMAS: You're either DEA or Immigration. You're not FBI. They wear suits. GIBBS: NCIS. CAESAR: Navy cops. TOMAS: What'd we do to piss you off? Come on, man. We get blamed for everything these days. Help me out. We steal the Admiral's car? CAESAR: Or his cazoncillos?(SFX: LAUGHTER) GIBBS: You klled two Marines. The first in a drive-by shting. The other in Rock Creek Park. TOMAS: Take me away. You want one of them instead? Go with the Federales. They need a suspect. GIBBS: We know who did it. MCGEE: You can keep those. GIBBS: Don't look surprised. TOMAS: I never seen them before. MCGEE: They used to run your organization. TOMAS: Organization? (LAUGHS) We're a social club. GIBBS: You're not El Jefe. TOMAS: No. Who am I? GIBBS: El Gordo. (The fat one) See? Nobody laughs at the boss. You have El Jefe give me a call, or I book him the next seat on the flight to Gitmo. TOMAS: You can't do that. We're not trrorists. GIBBS: Ziva? ZIVA: I'll have Tel Aviv produce an intercept between Al Qaeda and this... social club. You want photos? GIBBS: That would be good. ZIVA: It might take me twenty-four hours. GIBBS: Okay. Twenty four hours. CUT TO: EXT. STREET - DAY GIBBS: Get a surveillance team on this taco shack. MCGEE: Actually, it's a pupusa shack, Boss. I'm just saying, tacos are historically associated with... GIBBS: Ziva, you make sure they're visible. Okay, McGee? You come back here. You pick up anybody who's got a La Vida Mala clown tat. MCGEE: What for, exactly? GIBBS: I don't care, McGee. Driving around the block. I don't care, McGee. MCGEE: Okay, so you want us to shake them up. ZIVA: If they're worried we're on to something, they start talking to each other. GIBBS: Get me intercepts on their cell phones, computers, pagers, smoke signals... any way they communicate. MCGEE: Uh, Boss? How are we going to get a judge to sign off on all that? ZIVA: Didn't you hear, McGee? La Vida Mala has ties to Al Qaeda. MCGEE: Well, yeah. But weren't we just saying that to....? GIBBS: Unbelievable. CUT TO: INT. SQUAD ROOM - DAY (SFX: DOORS SLIDE OPEN) TONY: I heard you rumbled with the Sharks. ZIVA: The Sharks? TONY: Yeah. (SNAPS FINGERS) Westside Story? ZIVA: Yes, McGee was quite impressive. TONY: Ah, you didn't thrat them, did you? MCGEE: Sort of. TONY: I had a buddy on the Baltimore gng unit, did that to the local LVM. They found his head in Crawford Park. Never did find the rest of him. You think I'd lie to you? GIBBS: Yes. TONY: To McGee I would lie. Never to you, Sir. Never to you. Look out! Look out! (SFX: ZIVA LAUGHS) CUT TO: INT. LAB - DAY GIBBS: I hope you've earned this, Abby. ABBY: Oh, the Director already hooked me up. She wanted an update. But I didn't tell her anything. I swear. She's been on her phone since she got here. (SFX: GIBBS PUTS THE DRINK IN THE TRASH CAN) SHEPARD: Oh, that's mature.(BEEPS) GIBBS: You have something for me? ABBY: As a matter of fact, I do. GIBBS: You looking over my shoulder again, Director? SHEPARD: Why? You feel a little crowded? GIBBS: Yeah, a little.(BEEPS) SHEPARD: How's that? GIBBS: Better. ABBY: These are the four rounds taken from First Sergeant Downing's body. Three nine-millimeter Parabellum and one forty-five. I matched the forty five to the Colt. That's a no brainer. The nine millimeters are trickier. But I got a definite match on the Beretta and the Tec-Nine. That leaves us with this final round. The runt of the litter. Ducky said it went into the back and lodged in the chest plate. GIBBS: kll sht. ABBY: The rifling was almost stripped. It made it almost impossible to find out which wapon it came from. But I did it. SHEPARD: Which one was it? ABBY: Neither. SHEPARD: We're missing a wapon. GIBBS: Then we're missing a sh*t. (MUSIC OUT) FADE IN: INT. MTAC - DAY ARVIDAS: (ON MONITOR) I understand you've got a job to do, Agent Gibbs. My Marines have done theirs. It's time for them to come home. GIBBS: I agree, Captain. ARVIDAS: (ON MONITOR) Well then why is my Company still sitting in Iraq? GIBBS: You lost two Marines to a Virginia street gng, Skipper. Would you like me to spell it out for you? ARVIDAS: (ON MONITOR) Headquarters is afraid of reprisals. GIBBS: Not only Headquarters. PFC Reggio was klled in a drive-by shting one week before your deployment. Now your First Sergeant turns up dad...? ARVIDAS: (ON MONITOR) You think First Sergeant Downing was out for revenge? GIBBS: His body was found in a frozen pond with three dad gng-bangers. His wapon was used to kll them. You tell me, Captain. ARVIDAS: (ON MONITOR) No way. Not his style, Agent Gibbs. GIBBS: What was he doing back on leave in the States? ARVIDAS: (ON MONITOR) His father had cancer. Terminal. He wanted a chance to say goodbye. GIBBS: I hope he got it. He was sht four times. kll sht was in his back. ARVIDAS: (ON MONITOR) You're a Marine. Do you know any First Sergeants that would leave their men in combat to go chase after some street punks? GIBBS: No, Skipper. I don't. ARVIDAS: (ON MONITOR) Neither do I. Well, what are you going to do about it? GIBBS: We're working on the case on this end. As soon as I know, you'll know. SILVA: (ON MONITOR) Sir!? You people had a year to catch Reggio's Kllers and didn't do it!! ARVIDAS: (ON MONITOR) At ease, Lance Corporal Silva. SILVA: (ON MONITOR) But Sir! ARVIDAS: (ON MONITOR) At ease, Marine! SILVA: (ON MONITOR) Sorry, Sir. I didn't mean to... ARVIDAS: (ON MONITOR) Your watch is over, Marine. We'll talk about this later SILVA: (ON MONITOR) Yes, Sir. ARVIDAS: (ON MONITOR) I got one hundred and eighty two other Marines wondering the same thing, Agent Gibbs. Don't let them down this time. (MONITOR OFF) GIBBS: You looking over my shoulder again, Jen? SHEPARD: Not exactly. He's right, you know. You can't let them down. CUT TO: INT. SQUAD ROOM - DAY MCGEE: El Gordo's cell phone again. (SFX: TAPED VOICES IN SPANISH B.G.) TONY: Probably his Mamacita. For a gangster, this guy leads a pretty boring life. TONY: Ziva, habla Espanol? ZIVA: Si. Mucho. TONY: Oh, bueno. Welcome to the wonderful world of Tomas Zepeda. He's all yours. kll the speaker phone. ZIVA: They are exchanging greetings. The plan for lunch. Oh, and a double feature is scheduled. MCGEE: Movies? ZIVA: Nope. Two hos are coming over for something called a rainbow party. Rainbow. TONY: It's tough to translate slang. That's my specialty. I'll take over. ZIVA: Hey, I know my cholo from my chile. I'll give you the summary. I'll... give you the summary. TONY: Is that man-lotion working for you there, Probie? MCGEE: I didn't shave today. I'm trying a new look. TONY: When you say today, you mean the last couple of minutes or... MCGEE: Abby seems to like it. TONY: Like what? ZIVA: It looks nice, McGee. It's very manly. TONY: May I? (TONY RUBS MCGEE'S CHIN) GIBBS: DiNozzo! TONY: Hey, boss. GIBBS: Why are you touching his face? TONY: I don't know, it feels good, though. It's like a bunny rabbit. GIBBS: Don't! TONY: Sorry. GIBBS: What are the wiretaps telling us? TONY: Not much. Zepeda, the big guy, U.S. citizen, made five calls today. Twice to his mother, two for food, and one just now concerning... ZIVA: 'Hos. Slang for... GIBBS: I know what it's slang for, Ziva. TONY: The rest of the gng's conversations are even less promising. ZIVA: The only member we've been unable to listen to is Cesar Bernal. MCGEE: Almost invisible, Boss. GIBBS: Almost, McGee? MCGEE: He never talks on the phone. Only sends and receives text messages. TONY: Twenty two since yesterday. All of them from Miguel Sosa in San Salvador. MCGEE: Texts are coded, but it looks as though Sosa's still making the day to day decisions for the gng. GIBBS: Then Bernal is his number two. Tony, get him in here. TONY: On it, Boss. GIBBS: Use your contacts. Find out everything you can about Sosa and what he's doing in El Salvador. ZIVA: Done. GIBBS: McGee? MCGEE: Yeah. GIBBS: You're trying too hard. MCGEE: On it. CUT TO: INT. INTERROGATION ROOM - DAY (DOOR OPENS/ CLOSES) GIBBS: Your friend Zepeda's a chump. CESAR: You're probably right. Zepeda's an idiot. But last I heard, being stupid wasn't illegal. GIBBS: I'm more interested in who klled my First Sergeant. CESAR: You're talking to the wrong cholo, Senor. I'm just a small fish. Talk to the jefe. GIBBS: I would, but I can't type. How about you? CESAR: Why, do you want to hire me as your secretary or something? GIBBS: No. No, because I can't pay you as well as your current employer, Miguel Sosa. No, I can't do that. You tell him I want to speak with him. CESAR: Si. I delivered your Gitmo thrat. Sosa said to ask you why you let your people live so far from work. That vato, McGee, and the Israeli chica, all the way out in Silver Spring? A long way, si? What if they need you pronto? GIBBS: thrat my people is never a good idea. CESAR: I'm just the messenger. GIBBS: A messenger that knows what happened at Rock Creek Park. CESAR: Estoy muerto if I talk to you. GIBBS: Estas muerto if you don't. CESAR: Two Marines called Sosa to help unload captured Iraqi wapon. GIBBS: Two Marines? CESAR: Si. He sent our people to do a deal. He figured maybe the Marines would back off or, you know...what happened before. GIBBS: Who was the other Marine? CESAR: They don't invite me to these things. I'm just a messenger. I don't know! CUT TO: INT. SQUAD ROOM - DAY TONY: TONY: Three Marines from the company were on leave at the same time as First Sergeant Downing. Of those three, two were nowhere near D C. Which leaves Lance Corporal Jose Silva. (CONT.) Juvenile record, and suspected pre-Corps gng activity. He was also with PFC Reggio the night he was mrder. GIBBS: I want him on a plane. Yesterday. CUT TO: INT. AUTOPSY ROOM - DAY (SFX: DUCKY WHISTLES) (SFX: DOORS SLIDE OPEN) DUCKY: Ah, Timothy. I suppose you're here for the D.O.D.? MCGEE: Department of Defense? DUCKY: No no. Date of death. MCGEE: Yes. DUCKY: Absence of larvae from airborne insects indicate the bodies were thrown into the water soon after death, and were immersed for months based on the presence of adipocere, otherwise known as mortuary fat. MCGEE: The First Sergeant was stateside on leave from mid-November. DUCKY: Yes, well the meteorological reports from the area indicate that the first hard freeze was December ninth. Is that aftershave I smell? MCGEE: Old Spice. I had to shave mid-day. DUCKY: Yes, I've heard about your infatuation with ... lotions. MCGEE: The lotions were for a skin condition. DUCKY: Oh, it's quite all right, Timothy. Skin care is something we should all take more seriously. In my opinion, there's absolutely nothing gay about it. Not that there's anything wrong with that. MCGEE: I've heard. Uh... so hard freeze December ninth? DUCKY: Our key is that the bodies were not frozen inside the ice, but were below it. MCGEE: So they died after the ninth? DUCKY: No no no no. No, human bodies sink until the gases created by the internal putrefaction have had time to accumulate. (SFX: DOORS SLIDE OPEN) GIBBS: How long does that take? DUCKY: Under the forecasted weather conditions? Ten to fourteen days. GIBBS: Bodies went into the water between November twenty fifth and December ninth. Or they would have resurfaced to the top and ice would have formed around them. DUCKY: Precisely. Have we had any idea what our Marine was doing there yet? GIBBS: No, Duck. I don't. But we've got to find out in eleven hours and thirty minutes. Hey! (SFX: GIBBS WHISTLES) CUT TO: EXT. TARMAC - DAY GIBBS: How was the flight, Lance Corporal? SILVA: It was um.... long, Sir. How much trouble am I in? GIBBS: Trouble? Why would you say that? SILVA: Four NCIS agents escorting one Lance Corporal? TONY: You got it all wrong, Marine. She's Mossad. (SFX: CAR ENGINE STARTS) CUT TO: INT. CAR - MOVING GIBBS: I hope you slept on the plane, Lance Corporal. TONY: Yeah. It's going to be a long night. You want to get the cash first, or the Iraqi wapon? (SFX: CAR ACCELERATES) (SFX: CAR HORN HONKS) ZIVA: I'm not scaring you, am I? MCGEE: I'm fine. SILVA: I don't know what you're talking about, Sir. TONY: Really? Because you were on leave with First Sergeant Downing, and then you were with PFC Reggio the night he was klled in the drive-by shting. SILVA: I can't help a coincidence. ZIVA: A coincidence, Lance Corporal? Five dad bodies, you're our only link. (SFX: CAR HORN HONKS) GIBBS: Your Company, your fellow Marines, are stuck in Iraq until we solve this case. SILVA: You don't think I know that, Sir? TONY: He knows, he just doesn't care. GIBBS: Hey, so you know what? We had a name for guys like you when I was on active duty. Bravo Foxtrot. TONY: And explicit term for sexual... SILVA: It wasn't supposed to happen like this. GIBBS: Like what? (SFX: CAR ACCELERATES) SILVA: If a drive-by klling isn't solved right away, the cops forget it. NCIS forgot about it. Private Reggio was my best friend. He died in my arms. I couldn't just let that go, Sir. TONY: So you decided to turn a quick buck? SILVA: No. I called Sosa to meet... but not to sell him any wapon. I wanted blood. GIBBS: And your First Sergeant found out about it. SILVA: I don't know how. But he did. He yanked my leave and restricted me to base. GIBBS: And he went to the meeting in your place. SILVA: He didn't go down there to kll anyone, Sir. He went down there to make peace. To end it. He didn't want anyone else to get hurt. If I could... I'd switch places with him. I would. GIBBS: Yeah. Yeah, I think you would, Lance Corporal. MUSICAL BRIDGE TO: INT. SQUAD ROOM - NIGHT MCGEE: It checks out. Quantico gate log shows that Downing restricted Silva to base on November twenty sixth for the duration of his leave. Lance Corporal Silva wasn't at the pond. He didn't kll anyone. ZIVA: (INTO PHONE) Thank you. I owe you one, Simon. (TO GIBBS) That was my contact in San Salvador. GIBBS: He locate Sosa? ZIVA: No. He's not there. MCGEE: He has to be. Bernal is texting him there a dozen times a day. ZIVA: If Simon says he's not in San Salvador, then he's not there, McGee! GIBBS: He has to be. ZIVA: Gibbs, I-- GIBBS: If not, we've wasted three days. I am not wasting one more to bring those Marines home. You find him. Now! (MUSIC UP AND OUT) FADE IN: INT. LAB - NIGHT ABBY: Men, we are here today for three reasons. One... we can't find Miguel Sosa. Two... I'm not even sure that he exists. And three... MCGEE: Who are you talking to? ABBY: You will address me as Sir, Soldier! MCGEE: Sorry. Who were you talking to, Sir! ABBY: My army. Major Mass Spec. Captain Comparison Microscope. Ensign.... MCGEE: Isn't an Army rank. It's actually Navy. ABBY: What do you want, McGee? MCGEE: To go over the old test messages between Cesar Bernal and his boss, Miguel Sosa. ABBY: They're in code. MCGEE: I know, but if we break them, we might find where Sosa's hiding. ABBY: He's in San Salvador. MCGEE: Ziva's people say no. ABBY: Oh, so if Ziva's people say no, then we... MCGEE: Will you please just run them? ABBY: Okay. MCGEE: My Spanish is a little rusty. ABBY: Mine's not. Okay, in this one they're asking Sosa if they should... wait a minute. MCGEE: What? ABBY: It's too long. SMS text messages are limited to a hundred and fifty characters. So that means that... MCGEE: It means that it was emailed from a computer, not a cell phone. ABBY: Can you backtrace it to a physical location? MCGEE: It's just a simple matter of accessing the email-to-SMS gateway, pulling an IP, linking it to an ISP. ABBY: That's a Virginia address. Ziva's people were right. MCGEE: Let me see if we can get a name of the account holder. ABBY: Cesar Bernal? That doesn't make any sense. Why would he send messages to himself? MCGEE: Because he was pretending he's Miguel Sosa. ABBY: Okay, but that's stupid. Because Sosa would totally find out and kll Cesar. MCGEE: Not if Cesar klled him first. CUT TO: INT. SHEPARD'S OFFICE - NIGHT (DOOR OPENS/ CLOSES) SHEPARD: Uh-oh! What is this meal going to cost me this time? GIBBS: It didn't cost you anything last time. SHEPARD: You mean aside from the thousand extra calories I didn't need? GIBBS: I can leave. SHEPARD: I didn't say that. Salvadorean food? How fried. Sit. I'm sorry. Another Marine was injured in Captain Arvidas's group. GIBBS: I know. SHEPARD: I heard you found the man responsible for First Sergeant Downing's death. GIBBS: His name is Cesar Bernal. SHEPARD: Can you make a case? I knew this meal was going to cost me. Okay, what do you have so far? GIBBS: Cesar is making a power play for control of his crew. He's been faking orders from Miguel Sosa to the rest of LVM for the last four months. SHEPARD: And Sosa? GIBBS: He's dad. It's the only way Cesar could have gotten away with it. SHEPARD: So First Sergeant Downing wasn't the target. He was Cesar's lure. The real targets were the three LVM Lieutenants. Cesar was taking out the leadership. Do you have any physical evidence? GIBBS: Nothing linking Cesar to the crime scene. SHEPARD: Jethro, you're going to need more than motive to get a jury to convict. GIBBS: Depends on the jury. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM CESAR: This is harassment. When I get out of here, I'm going to get me a fancy lawyer... CUT TO: INT. OBSERVATION ROOM - DAY (CESAR TALKING B.G.) CESAR: (FILTERED) ...and shove him all the way up your ... TONY: Come on, it was just getting good. ZIVA: Okay, who wants to take him first? MCGEE: I'm going to take him. TONY: Oh, no no no no. I got it, Probie. MCGEE: What, do you think I can't handle this guy? TONY: Gibbs said keep him on ice. Not show him the warning signs of osteoarthritis. MCGEE: Tony, I can break this guy. TONY: You keep cracking your knuckles like that, you're going to break a finger, Probie. I'm senior, I go first. MCGEE: You are always going to be senior. GIBBS: That's the nice thing about being senior is that-- (DOOR CLOSES) ZIVA: Sientate. (Sit down) CUT TO: INT. INTERROGATION ROOM (KNOCK ON TABLE) ZIVA: Ahora. (Now) CUT TO: INT. OBSERVATION ROOM CESAR: So I cooperate with you and this is the -- CUT TO: INT. INTERROGATION ROOM CESAR: ... thanks I get? Hauled in like a pescado muerto? (dad fish) ZIVA: If by cooperate you mean lie, yes. CESAR: What did I lie about? ZIVA: We know you were at the Rock Creek Pond the night of the mrder, and we know you've been klling off the LVM leadership to assert control. CESAR: You must think very highly of me, because the man who can pull off something like that, must be a very smart man. You like smart men, bonita? (ZIVA HITS CESAR) (SFX: CESAR GASPS) ZIVA: Sorry. You're not my type. CESAR: You're playing with fre, bonita. ZIVA: Is that a thrat? CESAR: No. I'm just saying, my eses get very lonely when I'm not around. And they're not going to be too happy with the one that's keeping me from them. ZIVA: I wouldn't worry about it. I'm sure your eses will find something to do while you're gone. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY (SFX: DRAWER SLIDES OPEN) DUCKY: The autopsy of First Sergeant Downing revealed four entry wounds. However, of interest is the fact that the three frontal wounds showed no sign of internal hemorrhaging. The shts were fired after First Sergeant Downing was dad. GIBBS: Each of your buddies ... put a bllet in his corpse. TOMAS: Your point? GIBBS: The point is if your buddies each fired a round into the First Sergeant after he was dad, who sht them? MUSICAL BRIDGE TO: INT. INTERROGATION ROOM (DOOR OPENS/ CLOSES) CESAR: I want to talk to my lawyer. CUT TO: INT. OBSERVATION ROOM MCGEE: No can do, punk. CUT TO: INT. INTERROGATION ROOM CESAR: You've been watching too many cop shows, you know that? MCGEE: Yeah, well you've been watching too many gng ... person shows. CUT TO: INT. OBSERVATION ROOM TONY: I don't think Probie's been watching enough cop shows. ZIVA: McGee is a capable interrogator. He can be quite intimidating when he wants to be. CUT TO: INT. OBSERVATION ROOM CESAR: You can't keep me here like this. MCGEE: Well actually, I can. You see, La Vida Mala has suspected ties to Al Qaeda. So all I have to do is say the word trror1st, and I can keep you in this room until you grow old and die. CUT TO: INT. OBSERVATION ROOM TONY: That actually was intimidating. MUSICAL BRIDGE TO: INT. LAB - DAY ABBY: We can tell from the rifling patterns that the slugs pulled from your three dad LVMs were from the Browning found at the scene. Nice tat. TOMAS: Huh? ABBY: Your Drachenkreuz. The symbol of the ancient Order of the -- GIBBS: Abby. ABBY: Sorry, Gibbs. Um... the point is that whoever sht your guys used First Sergeant Downing's gn. GIBBS: He wanted to make it look like our First Sergeant smoked your muchachos. ABBY: Of course, your crew probably would have only turned their backs to the sh*t if it was someone they really trusted. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM (TONY GROANS/ LAUGHS) CESAR: So like, you don't got no questions for me? TONY: That's a double negative. CESAR: Huh? TONY: TONY: "Don't got no" is a double negative. It's a non-standard use of two negative words in the same sentence. They cancel each other out and create a positive. Actually, in Shakespeare's day a double negative was used as an emphatic. But now it's just considered a mistake. (CONT.) Oh! I don't know if that's what you intended. Pretty sure it's not. We'll just go with the whole colloquial enigmatic thing. This is hard. I'm pretty sure you meant do I have any questions. And the answer to that question is, I have no questions. I do have some observations, though. Cesar. That's an interesting name. Obviously derived from Cesar. That was a powerful dude. My name's Anthony. My friends call me Tony. Which backwards is "why not." Anyway, in the pecking order, I'm guessing that you're somewhere between the guy that goes out and buys the spray paint that you use for tagging and the guy who digs it out from under your boss' nails. (CESAR EXCLAIMS IN SPANISH) CESAR: You don't know who you're messing with. One word from me, and my crew will have you splattered... TONY: Your crew? CESAR: Yes. TONY: Well, that's funny. I thought LVM was Miguel Sosa's crew. (TONY KNOCKS ON THE WINDOW) TONY: Interesting. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY MCGEE: MCGEE: Miguel Sosa. Word on the street is he is hiding out in El Salvador. Except the FBI has no record of him leaving the country. (CONT.) Salvadorean authorities have no record of him coming in. So the only trail we have is the SMS text messages he's been sending you. The problem is he hasn't been sending them. El Salvador country code has been falsified. GIBBS: Someone faked them to make them look like they came from Miguel Sosa. MCGEE: This message originated from an email account registered to Cesar Bernal. GIBBS: He klled your boss. Played you for a fool. Us, too. I'll never get a conviction in court with what I have on him. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM (DOOR OPENS) TONY: Hey, Boss. CESAR: Right. I see. You were all trying to throw me off balance. Soften me up for the big gn, eh? GIBBS: Actually, I didn't know you were still here. Come on, I'll drive you home. TONY: (WHISPERS) Wear your safety belt! CUT TO: INT. SEDAN - NIGHT CESAR: CESAR: Door to door service. I could get used to this. What's the matter? You pissed because whatever game you tried to play didn't work? You've got a lot to learn about the streets, cabron. Loyalty means everything in our world. Without it, estas muerto. (You're dad) (CONT.) (LONG bat) Thanks for the lift. (SFX: CAR DOOR OPENS) CESAR: Semper fi. GIBBS: Goodbye, Cesar. (SFX: CAR ACCELERATES) CESAR: (IN SPANISH) Que paso, hermanos? These NCIS pendejos just won't quit, eh? I got a message from Sosa. He thinks we ought to teach them some manners. (bat) What? REPORTER: (V.O.) The victim, a male in his early twenties.... CUT TO: INT. SQUAD ROOM - DAY REPORTER: (ON TV) ... Was found in this dumpster, sht repeatedly at close range. Police have identified him as Cesar Bernal, a native of El Salvador, and say they believe he has close ties to gng activity in the Manassas area. In fact, police say he-- (SFX: TV CLICKS OFF) GIBBS: If you don't have enough work to do, I'm sure I can find some. TONY: Oh, no. I've got a lot of work to do, Boss. ZIVA: (OVERLAP) Oh, no. There's lots of work. GIBBS: Good. I'll be in MTAC. MUSICAL BRIDGE TO: INT. MTAC - DAY (DOOR OPENS/ CLOSES) GIBBS: Captain. ARVIDAS: (ON MONITOR) Agent Gibbs, I hope you have some good news for me. GIBBS: Bring our boys home. (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x19 - Iced"}	foreverdreaming
MUSIC IN: (SFX: CAR BRAKES TO A STOP) TONY: Lieutenant Lara Hill. Stop number forty six on the boredom express. ZIVA: Cheer up. This could be fun. TONY: If I wanted to knock on doors all day, I would have joined UPS. ZIVA: Trust me. Brown is not your most flattering color. TONY: You're actually enjoying this, aren't you? ZIVA: We're looking for a mole in the Pentagon, Tony. Espionage just so happens to be one of my specialties. (KNOCK ON DOOR) TONY: We're interviewing code geeks. They're not even sure there is a mole. ZIVA: Don't you find it a bit coincidental that every time the Navy breaks a Venezuelan code, it changes almost instantly? (SFX: TONY YAWNS) ZIVA: All right. I'm trying the back door. CUT TO: EXT. BACK YARD - DAY (SFX: GATE OPENS) TONY: Relax, Ziva David. We're dealing with a Naval Officer. Not Doctor Evil. ZIVA: Well, she didn't show up for work or her interview with us. No one has been able to reach her by phone. TONY: She probably overslept. ZIVA: I believe in being prepared. TONY: So do Boy Scouts. Why didn't you bring Webelos McGee with you? ZIVA: I tried. He was busy. TONY: I've got an idea. How about if I shove you right through here? Huh? (F/X: CAT SCAMPERS FROM THE HOUSE) (SFX: ZIVA LAUGHS) ZIVA: Don't tell me you're afraid of a little pssy - cat, Tony? TONY: (bat) It looks like blood. (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) MUSIC IN: INT. LIVING ROOM - DAY "UNTOUCHABLE" TONY: I knew something was wrong the minute I got out of the car, Probie. Instinct. Pure and simple. Either you got it or you don't. MCGEE: Yeah, well I heard you squealed like a little squirrel when the cat jumped out at you. TONY: I was saving this for Ziva, but since you volunteered... find the little beast. Got blood on his paws. It's evidence. MCGEE: I'm allergic to cats. TONY: Oh, I'm sorry. I had no idea. Try holding your breath. DUCKY: Our Lieutenant suffered a single gn wound, Jethro, to the right temple... GIBBS: Through and through. DUCKY: Yeah. GIBBS: Impacted here. Round's still in the book, Duck. DUCKY: Sadly, one less reader in the world. JIMMY: Who committed su1c1de. Or maybe she was just cleaning her gn too close to her head. GIBBS: DiNozzo. TONY: NCIS investigates all suicides as homicides until proven otherwise, Palmer. JIMMY: Got it. GIBBS: T.O.D., Duck? DUCKY: Nine, nine thirty this morning. What time was her interview scheduled for today? GIBBS: Ten hundred. ZIVA: Gibbs. CUT TO: INT. BEDROOM - DAY ZIVA: I found it taped underneath the bureau. GIBBS: Hundreds and fifties. Non-sequential. Maybe fifty, sixty grand. TONY: Looks like we found our mole, Boss. Knew she was cornered. No way out. NCIS closing in. ZIVA: She could have run, Tony. su1c1de is only for when you know you're going to be captured. TONY: For you, maybe. This doesn't exactly look like the bedroom of a hardcore super secret agent chick. ZIVA: I have stuffed animals. Okay, I was twelve. But still, I mean... GIBBS: She could have been coerced. ZIVA: To be a mole? TONY: He means to kll herself. GIBBS: I mean both, DiNozzo. How many suicides you know make their beds before they off themselves? TONY: Want me to inform Lieutenant Hill's Command about her death, Boss? GIBBS: Nope. TONY: He wants to tell him himself. That way he can gauge the response. GIBBS: DiNozzo. TONY: On your six, Boss. CUT TO: INT. LIVING ROOM - DAY GIBBS: Get the couch, bookcase, and carpets to Abby. TONY: Oh. On it. GIBBS: McGee! MCGEE: Yeah, Boss? CUT TO: INT. HALLWAY - DAY (SFX: MCGEE SNEEZES) (MUSIC OVER ACTION/MCGEE CHASES THE CAT) MCGEE: He's really quick, Boss. TONY: (INTO PHONE) All right, I'll hold. McGee, you go that way. I'll go this way. We'll corner the guy. You've got to be very careful with animals. They're... tricky. (SFX: CAT B.G.) GIBBS: Hey! (MUSIC OVER ACTION/CAT WALKS INTO THE CARRIER) TONY: Or you can just do that. GIBBS: With me. We're going to the Pentagon. MCGEE: Cryptology unit? GIBBS: I need you to translate. TONY: He needs you to speak the geek for him, McGeekle. GIBBS: DiNozzo, find a home for that thing! (SFX: CAT B.G.) CUT TO: INT. CRYPTO UNIT - DAY (SFX: VOICES B.G.) DORN: Agent Gibbs. I understand you've got an investigation to run, but I'd appreciate a courtesy call before you show up here to interview any more of my people. GIBBS: We're not here to interview your people today, Captain Dorn. DORN: What happened? GIBBS: Lieutenant Hill. DORN: Well, what? She didn't show up for her interview at NCIS today? GIBBS: Nope. DORN: Well, if she's running late, I can tell you there's a good reason. She's one of my-- MCGEE: We know the reason. GIBBS: She's dad. DORN: How? MCGEE: Appears to be su1c1de. DORN: Let's continue this conversation in my office. CUT TO: INT. OFFICE - DAY DORN: These... cryptographers. They're not like us. Their lives are by patterns and numbers. To tell you the truth, I don't understand half of it. But they're pretty tightly wound and Lieutenant Hill was no different. GIBBS: You're saying she was suicidal? DORN: I'm saying that she was withdrawn. She was socially awkward, had obsessive-compulsive traits. MCGEE: Well none of that was in her medical record. DORN: No, and it wouldn't be! These people are recruited based on their abilities, and sometimes it's a thin line between genius and... GIBBS: Insanity. DORN: Look, a lot of these people tend to be naturally paranoid, and this mole hunt hasn't helped. My entire section's on edge. GIBBS: They should be. DORN: If there's a leak, I am telling you right now it is not coming from my people. MCGEE: We found sixty thousand dollars hidden in Lieutenant Hill's home. GIBBS: She ended up dad instead of attending the interview she had today. What does that tell you? DORN: (INTO PHONE) Lieutenant Hall? HALL: (FILTERED) Sir? DORN: (INTO PHONE) We are now in lockdown. I want all the work secured and the section restricted to quarters until further notice. HALL: Yes, Sir. (V.O./OVER INTERCOM) Attention! Initiate emergency Plan Alpha. Shut down your systems and secure classified material. When complete, report to your quarters until further notice. DORN: Okay. What now? CUT TO: INT. LIVING ROOM - DAY TONY: Hey, buddy. Look what I got! Who found your favorite little carrot toy? Come here. Come here. Here. Yeah. Good kitty. (SFX: CAT MEOWS B.G.) (SFX: CAT SCREECHES/ HISSES) TONY: Yah! (SFX: LAUGHTER) TONY: You think that's funny, Probies? Huh? Did I hear a little chuckle back here in the peanut gallery? Is that it? You want to know how the blood got there? Hm? You think that's funny? I'll tell you how it got there. Garfield over there. We found that animal feasting on this woman's face. Doctor Mallard thinks that this kitty cat is rabid. Me? I'm of the opinion that it's a man eater. He likes the taste of human flesh. It starts with the cheeks. Then it moves to the lips. Soft lips. Then it works on the tongue a little bit until it's just a little nub. A lot of blood in the tongue. Guys, there was blood spewing from this poor woman's maw. Get a kick out of this now? You think this is funny, Chuckle Head. That's what it was feasting on when we found it. It took four tranquilizers and three-- ZIVA: That's very dramatic, Tony. Can we get back to work now? TONY: You heard the lady, probies. And careful with that because it is evidence. (LAUGHS) I never get tired of it. What'd you find out? ZIVA: The neighbors were at work. The woman next door - she was actually there, but she didn't hear anything. TONY: I wish I had a neighbor like that. The old bat that lives next to me complains every time I bring a date home. Want to know why? ZIVA: Shouting of, "No means no!?" TONY: Huh. That's a good one, but not even close. ZIVA: I was actually kidding. TONY: Oh. ZIVA: I have the same problem at my place, Tony. TONY: Really? You have a surround system too? ZIVA: No. I'm what you Americans like to call a screamer, yes? (SFX: ZIVA CHUCKLES) (PHONE RINGS) TONY: Answer it. ZIVA: Well, what do you want me to say? TONY: I don't know. Scream something. HILL: (RECORDED VOICE) This is Lara. Leave a message. BOB: (V.O./FILTERED) Hi, Miss Hill. This is Bob calling with a special offer. TONY: (INTO PHONE) Hello, this is Special Agent Anthony DiNozzo. You called a crime scene. We're wiretapping this phone, so please be advised that we will be contacting you at your home. BOB: (V.O./FILTERED) My home? TONY: (INTO PHONE) Anytime day or night. Probably during the weekend, early in the morning. BOB: (V.O./FILTERED) All right. TONY: That was fun. Telemarketers. You can't escape them even when you're dad. ZIVA: Ooh, speaking about escape? TONY: Nobody move! CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: To assume is to make an enemy of exactitude, Mister Palmer. JIMMY: Because it makes an ass out of you and me? DUCKY: Is this the best time for an attempt at humor? JIMMY: Um, no. DUCKY: We must strive for excellence, Mister Palmer. Go the extra mile. JIMMY: I understand. DUCKY: Do you now? Oh, that's good. What exactly was your assumption? JIMMY: Well, the Instant gn Residue Test came back positive. DUCKY: Yeah. JIMMY: She had a pstol in her hand. She has a hole in her head. It would seem reasonable to conclude su1c1de, Sir. DUCKY: There's nothing reasonable about a lovely young girl like this taking her life in such a grotesque fashion. It's true firearms are the most common instrument of su1c1de. However, women tend to avoid the proximity of the face when pulling the trigger. Vanity, Mister Palmer. Simple vanity. JIMMY: We're not finished with the external exam, are we, Sir? DUCKY: Well, you're not. You're so sure that the cause of death was su1c1de. Why don't you work out how you would prove it? JIMMY: You want me to... DUCKY: Finish the external exam. Clean, measure - you know, the usual. You think you can do that? JIMMY: Absolutely, Doctor! DUCKY: Then work through the procedure, item by item. Make whatever notes you can. JIMMY: Right. Oh, thank you, Doctor. DUCKY: Have her ready for autopsy two o'clock tomorrow. JIMMY: Yeah. CUT TO: INT. SQUAD ROOM - DAY TONY: That's why I never had pets. ZIVA: You've never had any pets? TONY: Well, I had sea monkeys once. ZIVA: What's a sea monkey? TONY: Basically brine shrimp swimming around in green water. I know. I thought the same thing. ZIVA: What happened to them? TONY: My mother got their sea castles confused with her mint julep. ZIVA: Your mother drank your monkeys? TONY: It was the seventies. GIBBS: It explains a lot, DiNozzo. GIBBS: Hey boss? I went through Lieutenant Hill's background. ZIVA: Her phone records, credit card bills, personal habits. There's no discernible patterns. TONY: Yet. She's a cryptographer, Ziva. We could be dealing with a real pro here, Boss. GIBBS: Well, DiNozzo, if she was a pro, she wouldn't have klled herself. MCGEE: (V.O.) You should have heard the guy, Abby. CUT TO: INT. GARAGE - DAY MCGEE: I mean, just because you (ON CAMERA) have an aptitude for math and science, it does not make them some kind of suicidal freak. ABBY: A little higher, McGee. MCGEE: Is that what people think about us? GIBBS: Ask me later, McGee. Oh, this better be work related. ABBY: Oh, it is. And you're just in time for the show and tell portion. McGee, if you will. So Lieutenant Hill sits down on the couch, puts the gn to her head, and bang! I said "bang," McGee. MCGEE: Bang. ABBY: I matched the bllet found in the book to the Kahr nine-millimeter in the victim's hand. Looks like a su1c1de, right? GIBBS: Except. ABBY: When a wapon is used at this close of range, there's extensive blood splatter from the exit wound. But blow-back also creates a fine mist of blood which lands here. Imperceptible to the human eye, but not to the magic of modern science. You're still dad, McGee. GIBBS: And? ABBY: Two steps away... voila! GIBBS: Footprints. ABBY: Exactly. Which means.... GIBBS: Somebody else was in the room. (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - NIGHT TONY: No evidence of forced entry. No bruises or marks to show that she was forced to pull the trigger or unconscious when she died. All we have is this... the Rorschach test from hell. ZIVA: You believe Abby may be mistaken? TONY: Well, I believe it's going to be tough to prove the su1c1de was faked when all you got is two partial footprints. ZIVA: She could have been drugged. The kller could have placed the pstol in her hand and pulled the trigger. TONY: The initial tox screens all came back negative. ZIVA: Some narcotics are hard to trace. And as for no evidence of forced entry, we could be dealing with a trained assassin. TONY: Or she knew her kller, Ziva. Probie, it's about time! I'm starving like Lee Marvin! MCGEE: Well, then you shouldn't have sent me for the world's greatest barbecue because I had to wait in line for an hour. TONY: It will be worth it. MCGEE: You're welcome. Hey, Boss. Did you want something too, because, well, it's just that you never order.... I can... I can go back. I'll go back. GIBBS: Sit down. No one has earned dinner yet! ZIVA: I agree, though I doubt this qualifies as dinner. In fact, I'm not even sure what this is. A Sea monkey? TONY: Goat. I'm pretty sure it's kosher. ZIVA: Maybe. But... still disgusting. GIBBS: There is a mole in the Pentagon and our only lead lies dad on a slab in Autopsy. I want answers! MCGEE: Boss? We ran the serial number on the mrder wapon found in Hill's apartment. We just got a match. Purchased six months ago by this woman. ZIVA: Lieutenant Keira Napleton? We just... TONY: Interviewed her last week. She's in the same crypto unit as Hill. ZIVA: Looks like we didn't do such a good job. TONY: We'll bring her in. GIBBS: DiNozzo! TONY: We'll bring her in now. We'll eat dinner later. GIBBS: (CHEWING) Good goat. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM (DOOR OPENS/ CLOSES) GIBBS: I'm Special Agent Gibbs. NAPLETON: Keira Nap - I mean, Lieutenant Keira Napleton, Sir. Middle name, IngBall. Family name on my father's side. Most people would find it -- GIBBS: You're not here because of a middle name, Lieutenant. CUT TO: INT. OBSERVATION ROOM ZIVA: This woman is a total turd! (bat) A geek, yes? TONY: The term is nerd. ZIVA: Whatever. I'm just saying it's hard to picture her as a kller. TONY: Remember the time that we Super Glued McGeek's face to his desk? ZIVA: (CHUCKLES) Yes. That's a good point. CUT TO: INT. INTERROGATION ROOM NAPLETON: Am I to assume I'm in some form of legal trouble? I only ask because no one has informed me of my Article Thirty One rights yet, Sir. GIBBS: Want me to read them to you? NAPLETON: Actually I have them memorized. GIBBS: Good. That'll save time. NAPLETON: I was interviewed by NCIS, Sir. I am not a... a traitor to my country. GIBBS: Hm? What about her? NAPLETON: You think Lara was the mole? GIBBS: Tell me about her. NAPLETON: Well, she was Catholic, liked to play softball. Her left leg was longer than her right. GIBBS: I'm more interested in her being dad, Lieutenant! NAPLETON: I don't know, Sir. Perhaps she was depressed? GIBBS: Enough to blow her head off? NAPLETON: She... she sht herself?! GIBBS: With this. CUT TO: INT. OBSERVATION ROOM GIBBS: (FILTERED) A Kahr nine millimeter. Yours. What was that doing at her house? NAPLETON: (FILTERED) The real estate market being what it is-- CUT TO: INT. INTERROGATION ROOM NAPLETON: ... Being what it is and the forecasted projections over the next several-- GIBBS: Lieutenant! NAPLETON: I have orders for Norfolk, Sir. So I sold my townhouse. Lara let me stay with her until I shipped out. GIBBS: Convenient. NAPLETON: Most people would think so, but the commute really wasn't that much better... GIBBS: Meaning, she wasn't alone when the trigger was pulled. NAPLETON: You think I was .... I was there with her? Sir, if I was...I would have stopped her. GIBBS: Where were you? NAPLETON: At... I was at Alphonse's last night. My boyfriend. CUT TO: INT. OBSERVATION ROOM NAPLETON: (FILTERED) I went straight to work from his house. TONY: I don't believe it. ZIVA: She appears to be telling the truth. TONY: No, I mean the part about her having a boyfriend. ZIVA: Oh. TONY: Come on. CUT TO: INT. INTERROGATION ROOM GIBBS: I need his number and address. NAPLETON: I would appreciate it if you kept this quiet, Agent Gibbs. My parents... they still think I'm a virgin. CUT TO: INT. SQUAD ROOM - DAY DORN: How much longer is this going to take, Agent McGee? MCGEE: Ah, hard to say, Captain. Agent Gibbs doesn't like to be interrupted during interrogation. DORN: It's almost zero two in the morning. GIBBS: Oh, we're just getting started here, Skipper. DORN: Agent Gibbs, do you think Lieutenant Napleton's the mole? GIBBS: She's staying here until we check her alibi. DORN: Alibi? For what? GIBBS: It's too soon to say. DORN: Well, we have another problem now. Our security may have been compromised. GIBBS: May have? DORN: After you left today, I conducted a thorough inventory of our section. Every piece of technology was scrutinized. Do you know what this is? MCGEE: Oh, it's... GIBBS: (OVERLAP) Oh, yeah. That's one of those... uh... memory doodah things for a computer. DORN: DORN: Yeah, basically we use it to transfer data between terminals. At the end of the night they're checked in. They're kept in a vault. (CONT.) They never leave the section. I found this today in its proper place. The only problem is... someone took the memory cartridge out. GIBBS: Who has access to the vault? DORN: Two people. Lieutenant Hill and Lieutenant Napleton. GIBBS: What was on it? DORN: Could be anything. It holds over two gigs of information. GIBBS: McGee, bag it. Get a hold of Ziva and Tony. Tell them we're heading out. MCGEE: I got it. Ah, where to, Boss? GIBBS: To look for the other doo-dah that goes inside that one. MCGEE: On it. DORN: Agent Gibbs, this is my fault. I've already offered my resignation to the Admiral. GIBBS: Don't fall on your sword yet, Captain. Like I said, we're just getting started here. CUT TO: INT. LIVING ROOM - NIGHT MCGEE: The flashcard could be anywhere. If you find it, though, try not to touch the contacts. ZIVA: Mossad training does not include food service. (SFX: MCGEE COUGHS) MCGEE: This thing hasn't been cleaned in years. TONY: It's a heating duct, McGee. Nobody cleans heating ducts... except for you guys. ZIVA: Oh, god! It smells like it's been here for a month! MCGEE: That's exactly why I don't have a roommate. GIBBS: Roommates are never a good idea. MCGEE: Did you ever have one, Boss? GIBBS: Three, McGee. They're called wives. (MUSIC OVER ACTION/ALL SEARCH THE KITCHEN CABINETS/HOUSE FOR THE CHIP) (PASSAGE OF TIME) (SFX: ZIVA SNORES) GIBBS: Pack up. I found it. It looks like they're putting decoder rings in cereal boxes again. (bat) What? TONY: Ah, it's a little before our time, Boss. CUT TO: INT. LAB - DAY ZIVA: Find anything, Abby? ABBY: I pulled a partial print off the flashcard. I'm running it now. Rough night? ZIVA: Is there any other kind with Gibbs? ABBY: It could be worse. It could be Saturday. ZIVA: It is Saturday, Abby. ABBY: See? It just got worse. Thanks. TONY: Do you have any Super Glue, Abs? GIBBS: What did I tell you about that, DiNozzo? TONY: His skin might not grow back. GIBBS: What do we have? ABBY: The partial print didn't match anyone in the crypto unit, so I'm running it through AFIS and other databases. GIBBS: McGee. MCGEE: Uh... I dumped the contents of the flashcard. It's encrypted so we're going to need someone from the crypto section to have access to their codes. GIBBS: Captain Dorn is coming in later. ABBY: Well, not so fast, Gibbs. I got a ht. It's from the Office of Foreign Missions. CUT TO: INT. SQUAD ROOM - DAY TONY: Name's Simon Roca. He's the Protocol Officer at the Embassy of Venezuela. ZIVA: He's got an apartment in the Watergate. Been on station since last June. TONY: Well, if Lara Hill was selling code, Roca could be the source of the money we found. TONY: klled her because he was afraid she wouldn't hold up under questioning. MCGEE: We bringing him in? GIBBS: We can't. MCGEE: Can't? He mrder a Naval Officer, Boss! TONY: He has a license to kll, McGee. ZIVA: He's got full diplomatic immunity. (MUSIC UP AND OUT) FADE IN: INT. MTAC ROOM - DAY LEVINSON: (ON MONITOR) What can the State Department do for NCIS at seven thirty on a Saturday, Agent Gibbs? GIBBS: I've got a dad Naval Officer who might be a mole. Evidence connects her to a foreign diplomat. LEVINSON: What country? GIBBS: Venezuela. His name is Simon Roca. LEVINSON: (ON MONITOR) Bad choice. Pick another. GIBBS: I want to question him. LEVINSON: (ON MONITOR) You are aware of our current relations with Venezuela. GIBBS: They are about to get worse. LEVINSON: (ON MONITOR) They've already accused us of meddling in their internal affairs. The Venezuelan Petroleum Minister has thrat to cut off future oil shipments and to close their refineries in the U.S. GIBBS: Sounds like a real headache. What time can I question him? LEVINSON: (ON MONITOR) The man has diplomatic immunity, Agent Gibbs. GIBBS: The man's a foreign intelligence officer who mrder a Navy Lieutenant. LEVINSON: (ON MONITOR) You have proof of this? GIBBS: Her death was made to look like a su1c1de. LEVINSON: (ON MONITOR) Meaning you can't prove it. GIBBS: His prints were found on classified Pentagon hardware recovered from the dad woman's home. LEVINSON: (ON MONITOR) The Vienna Convention exists for a reason, Agent Gibbs. If you can prove he committed mrder, I mean, prove. GIBBS: By the time I prove it, Roca will have left the country. LEVINSON: (ON MONITOR) Then we take your proof to the Secretary, and if she signs off on it? We then ask Venezuelan Foreign Mission to waive his immunity. Not very likely. GIBBS: And he walks for mrder? LEVINSON: (ON MONITOR) I don't make the rules, Agent Gibbs. I do, however, expect you to follow them. Until we give you permission, you can't question Roca. Where's he going? Gibbs! Gibbs! CUT TO: INT. SQUAD ROOM - DAY (MUSIC OVER ACTION) MCGEE: Hey, Boss! TONY: Nice try, Probie. Power nap, Boss. Doorman at the Watergate hasn't seen Roca for the past two days. He's probably holed up inside their embassy. GIBBS: Take Ziva. Find out. You can't question him. TONY: Gonna be awful hard to get answers if I can't ask questions. GIBBS: DiNozzo, if it was easy, I would send Joe the Janitor. ZIVA: Customs hasn't checked his passport in the last twenty four hours. He's most likely still in country. MCGEE: Not for long. The Venezuelan Embassy booked a private jet this morning out of Loudoun County Airport. GIBBS: (bat) To leave when, McGee? MCGEE: Sorry. Ah, today. Simon Roca's name is listed as a passenger. GIBBS: We need to tie Roca to Lieutenant Hill's mrder before he boards that plane. Go! Go! How do we prove the Lieutenant's death wasn't a su1c1de? ABBY: In a day? GIBBS: Abby, I think she was unconscious when it happened. ABBY: If Ducky can examine the brain tissue and send me a sample, I might be able to prove that. GIBBS: Yeah, do it. ABBY: Um... Ducky doesn't get in until noon. Do you want me to call him or do you want the pleasure? CUT TO: INT. NCIS SEDAN - DAY ZIVA: You know, I've been thinking, Tony. Remember when we were locked in that container and you told me you used to take piano lessons? Well, I think you should start again. I could teach you. Who knows, maybe it could be fun. Tony! Ha. But I'm sure you'd make a lousy student anyway. TONY: (bat) Do it and die, Amadeus. ZIVA: I thought you were asleep. TONY: You thought wrong. I was meditating. ZIVA: About? TONY: When you said you were a screamer, you did mean... ZIVA: I did. Ooh, we've got company. (SFX: KNOCK ON WINDOW) LYON: This is a restricted zone. You can't park here. TONY: NCIS. We are looking for Venezuelan Protocol Officer Simon Roca. LYON: Ah, Don Juan. We give them nicknames. Helps relieve the boredom. People seem to think Secret Service is like Clint Eastwood, protecting the President. TONY: Yeah, in the Line of fre. It's a good movie. LYON: Yeah, I wish it were that exciting. How do you like NCIS? TONY: It has its moments. LYON: Good hours? ZIVA: You asked on the wrong day. Is Roca in or not? LYON: As a matter of fact, he is, which is unusual. TONY: Why is that? LYON: I've been here over a year, Don Juan's never spent the night before. Day guy logged him in at eleven sixteen a.m. yesterday. TONY: Looks pretty refreshed to me. ZIVA: (V.O.) Who is that with him? LYON: That's Don Juan's driver. Looks like they're getting ready to go for a ride. TONY: All right, thanks. LYON: (V.O.) You bet. CUT TO: INT. SQUAD ROOM - DAY (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. TONY: (V.O./FILTERED) Hey, Boss. Roca's inside the embassy.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) TONY: (INTO PHONE) Looks like he's taking sanctuary until his flight. (SCENE CUT) GIBBS: (INTO PHONE) Stay on station and set up a video link to MTAC. I want to know when he moves. (SCENE CUT) TONY: (INTO PHONE) On it. (TO ZIVA) You weren't planning on sleeping, were you?(END TELEPHONE INTERCUTS) ZIVA: Not unless you're planning on taking a shower anytime soon. TONY: What's that supposed to mean? CUT TO: INT. AUTOPSY ROOM - DAY JIMMY: I don't know about this, Abby. Doctor Mallard won't even let me sit in his chair without supervision. ABBY: That's because you mess with the height adjustments, Jimmy. You... can... do this. JIMMY: This is not a good idea. ABBY: We don't have time to wait for Ducky on this, okay? What comes first? The saw? JIMMY: Careful, okay? These are all in a very specific order. ABBY: Stop being so Palmer, Jimmy. JIMMY: All right. I will need a scalpel. ABBY: Jimmy, are you really going to do this, or am I? JIMMY: I'll do it. DUCKY: What exactly are you two doing? JIMMY: Oh, Doctor Mallard! I uh... um... the thing is, I... she made me do it! DUCKY: Well, everything seems to be in order. Why don't you begin, Mister Palmer, while I get changed? JIMMY: You're... you're not mad? DUCKY: Work cannot stop, Mister Palmer, because my mother's nurse elects to abandon us on a Saturday morning. I applaud your initiative. ABBY: So what'd you do with your mom? VICTORIA: Donald! You promised me we were going for a ride!(SFX: DOORS SLIDE OPEN) DUCKY: We did go for a ride, Mother. VICTORIA: Oh, well very well. You drive too fast, Donald. Is that our housekeeper? DUCKY: Mother, Mrs. Leary left for Ireland ten years ago. JIMMY: Hello, Mrs. Mallard! VICTORIA: Oh. Ask the boy to pour me a drink. DUCKY: We're not at home, Mother. And Jimmy is not a servant. VICTORIA: Very well. I shall do it myself. DUCKY: Abby, would you do me a favor? I mean, just until we finish? VICTORIA: Oh, have you seen.... ABBY: Of course. Mrs. Mallard? Would you like to see my mass spectrometer? VICTORIA: What a charming young lady. Of course I would, my dear. What is a mass speedometer? Does it move very fast? ABBY: Well...(SFX: DOORS SLIDE CLOSED) CUT TO: INT. NCIS SEDAN - DAY TONY: Can I ask you a question? ZIVA: Yes. TONY: You really think I smell? ZIVA: I was just kidding. (SFX: FLATULENCE) TONY: What about now? ZIVA: You are disgusting. You do that again and I'll sh*t you. Got it? Oh! TONY: Start the car. ZIVA: What good is that going to do when you're still in it?! (SFX: CAR ENGINE STARTS) TONY: It's Roca's car. ZIVA: (INTO RADIO) Gibbs, Roca's leaving. CUT TO: INT. MTAC - DAY MCGEE: Boss, the private jet he booked is refueled and standing by. The diplomat's car's considered foreign soil. It's as sovereign as the embassy. CUT TO: INT. CAR - DAY TONY: What do we do? CUT TO: INT. MTAC - DAY GIBBS: Delay him. CUT TO: INT. CAR - MOVING TONY: Okay, here we go.(SFX: CAR TIRES SCREECH) CUT TO: INT. LAB - DAY VICTORIA: Hippopotamus amphibious. The river horse. I once swam with them while I was on safari in Kenya. Oh, dear. My apologies. (SFX: FLATULENCE) ABBY: Oh, no. That's Bert, the hippo. He's supposed to do that. VICTORIA: Really? How delightful! Reminds me of my bagpipe-playing days. Did you know that without those longshoremen tattoos and that dog collar, you are the exact spitting image of my sister Gloria?(SFX: FLATULENCE) ABBY: Thank you. VICTORIA: I hated her. She once tried to sleep with my late husband while he was still alive. (SFX: DOORS SLIDE OPEN) DUCKY: Mother! I'm sure Abigail doesn't want to hear any more of our family troubles. ABBY: It's fine, Ducky. We're having a good time. DUCKY: Brain tissue. I need a full rundown on that. VICTORIA: Donald, did you sleep with her? DUCKY: Mother, please! VICTORIA: Honestly, it's about time I had some grandchildren. He isn't getting any younger. You need to move fast. CUT TO: INT. SEDAN - MOVING TONY: How exactly does Gibbs expect us to delay him? ZIVA: I have a plan. Buckle your seatbelt. TONY: What? ZIVA: Buckle. (MUSIC OVER ACTION) (SFX: TIRES SCREECH) TONY: Come on, look out! Look out! Look out! (MUSIC OVER ACTION) (SFX: CAR CRASH) ZIVA: (IN HEBREW) I'm really sorry. It's all my fault. ZIVA: (IN HEBREW) I'm really sorry. It's all my fault. (ZIVA AND TONY LOOK INSIDE THE CAR) (MUSIC UP AND OUT) MUSIC IN: INT. MTAC - DAY MCGEE: Boss, this was recorded five minutes ago. It looks like Roca managed to avoid Tony and Ziva. GIBBS: You think, McGee? MCGEE: His plane is scheduled to depart within the hour. I guess we can't win them all. I mean, he-- GIBBS: The plane hasn't left yet. Delay it. MCGEE: How exactly? GIBBS: Call the control tower. Tell them there's a possible security risk, make something up! MCGEE: Can we do that? GIBBS: I don't know, McGee! Can you? TECHNICIAN: Feed from the State Department is coming in, Sir. LEVINSON: (ON MONITOR) What the hell were your people thinking, Agent Gibbs? That was a diplomatic vehicle they rammed. GIBBS: You told us that we couldn't question Roca. He wasn't in the vehicle. What's the problem? LEVINSON: (ON MONITOR) You don't understand the implications this'll-- GIBBS: Are you worried about insurance? NCIS has excellent coverage. LEVINSON: You're straining an already tenuous situation... GIBBS: We both know that Roca is no diplomat. He's a foreign spy operating on American soil. LEVINSON: (ON MONITOR) Then prove it! GIBBS: Give me permission to take him into custody. If it helps, tell your people that he may have documents vital to our national security. LEVINSON: (ON MONITOR) All right. I'm going to start the paperwork from this end. GIBBS: How long? LEVINSON: (ON MONITOR) If I fast track the request... maybe a week. MCGEE: (INTO PHONE) Thank you very much. (TO GIBBS) Okay, I called the control tower, convinced them to re-screen all the passengers. It's uh... a small airport. It'll delay them an hour or two at the most. GIBBS: Roca is on a private jet right now. He's leaving the country. LEVINSON: (ON MONITOR) Well, then the best I can do is lodge a formal complaint with the embassy and bar him from returning to the States. GIBBS: He's not coming back, Levinson! He is getting away with mrder. (SFX: WARNING HORNS/BUZZERS B.G.) TECHNICIAN: Someone's trying to gain access into MTAC with an unauthorized code, Sir! MUSICAL BRIDGE TO: INT. CORRIDOR - DAY GIBBS: Hello? VICTORIA: This thing must be broken. I can't see anyone dancing in there. TECHNICIAN: Sir? GIBBS: We're clear. It's okay. TECHNICIAN: Should I get State back? (KNOCK ON DOOR) GIBBS: For what? Ah, Mrs. Mallard, are you looking for your son? VICTORIA: Young man, have we met before? GIBBS: Leroy Jethro Gibbs, Ma'am. VICTORIA: Of the Southampton Gibbses? GIBBS: Why don't we see if we can't find Doctor Mallard, all right? VICTORIA: You're very handsome, Matthew. Are you... are you married?(SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) CUT TO: INT. AUTOPSY ROOM - DAY JIMMY: I'm so sorry, Doctor Mallard. I just turned my back for a second. DUCKY: Not to worry, Jimmy. I lose her all the time. JIMMY: She's really fast for her age. DUCKY: Yes, I'll call security. (SFX: ELEVATOR DOORS SLIDE OPEN) VICTORIA: (V.O.) Yes, you may find it hard to believe, (ON CAMERA) but Donald was the cutest child. He had long, curly blond hair. Everybody thought he was a girl until he was twelve... when his voice changed. DUCKY: Mister Palmer, will you chain my mother to the chair while I tell Agent Gibbs what I found? VICTORIA: I'm still waiting for that drink, Leonard! DUCKY: I'm certain the sht to Lieutenant Hill's head was peri-mortem based on the lack of tissue reaction in her brain. When she was sht, she was unconscious. GIBBS: How'd she get that way? DUCKY: This is the Lieutenant's head and neck. The left superior carotid artery is narrowed. Restricted blood flow. GIBBS: Choke-hold. DUCKY: Slight pressure for ten seconds will render a victim unconscious and leaves no external bruising. I gave Abby some brain tissue samples to check for CO two levels. GIBBS: Any way to tie Roca to it? DUCKY: Well, he didn't leave any prints on her skin. There's a chance that some of the samples we took from her body could have his DNA. But then we don't have his DNA for comparison. And with diplomatic immunity? GIBBS: His plane leaves in two hours. Find me something. VICTORIA: Matthew, I'll be expecting your call. I can't remember my number, but you'll get it from Donald. CUT TO: INT. LAB - DAY MCGEE: I've tried everything. DORN: Yeah, it's encrypted, and we change the codes everyday. Can you extract anything that looks like a date? MCGEE: I can try. DORN: You know, Lieutenant Hill could barely drive her own car. I find it hard to believe that she could be a mole. MCGEE: That's probably why she was so successful at it. DORN: Yeah. Not exactly the way I wanted to end my Naval career. Asleep at the damn switch. GIBBS: What was on that do-dad thing? MCGEE: Can't tell yet, Boss. DORN: I need to get one of my people down here to decode it. Are you still holding Lieutenant Napleton? GIBBS: Yeah. DORN: Well, if you've cleared her, I could sure use her help. What? Do you think she's involved? GIBBS: We're investigating treason, Skipper. Right now I suspect everyone. DORN: Well, if Hill wasn't the mole, why'd she blow her brains out? GIBBS: She didn't. She had help. We found a fingerprint on that flash chip thing. Probably the person who did it. DORN: Napleton? TONY: The Protocol Officer from the Venezuelan embassy. CUT TO: INT. LAB - DAY ABBY: Before you ask? No, I haven't found any physical evidence linking Simon Roca to the Lieutenant's mrder yet. GIBBS: That can wait, Abs. I need you to do something else for me. It'll only take a few minutes. ABBY: I could go faster if I had another one of these. GIBBS: Too much caffeine is not good for you, Abby. I need you to check this cereal box for GSR. ABBY: Why? GIBBS: Because I don't think Lieutenant Hill put the chip in there. CUT TO: INT. SQUAD ROOM - DAY ZIVA: I'm begging you, please. TONY: No. No way. I don't care how nice you are, how much you bribe me, or how much you thrat me. I'm not filling out the paperwork. ZIVA: It's not the filing of the accident report I object to. I'd prefer if you said you were driving the car. TONY: Well, that would be lying, and lying is bad. ZIVA: (SHOUTS) Will you just listen to me!? TONY: (bat) I'm listening. ZIVA: You're right. I'm sorry. I've been at NCIS for a short while. And it would look very bad to have another accident in my dossier. TONY: Another accident? ZIVA: I've had some... difficulties. TONY: Some indicates more than one. How many? ZIVA: Is that really important? (bat) Three. But the second was not my fault. Now are you going to help me? Yes or no? TONY: Well, that depends. What's in it for me? ZIVA: Hm. (LONG bat) Anything you want. TONY: Anything? GIBBS: Hey! Button your shirt. TONY: Hey boss, she came into my space and then she... GIBBS: (OVERLAP) I don't care. Roca's at the damn airport. TONY: Yeah, that's my fault, Boss. I take full responsibility. I shouldn't have let Ziva drive. GIBBS: It doesn't fit. TONY: I know. I talked to my tailor about that. He says the double pointed bespoke tailoring is... but you mean Simon Roca. GIBBS: He's got diplomatic immunity, DiNozzo. He knows we can't stop him from leaving this country. ZIVA: So why the shell game with his car? In fact, how did he even know we were on to him? (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. On my way. (GIBBS HITS TONY) TONY: What was that for? GIBBS: Blackmailing your partner. MCGEE: Boss, the flashcard data is too corrupted to read. DORN: I'm going to take a copy back to the Pentagon and have my people-- GIBBS: It's too late. Our "person of interest" just got clearance for take off. You want to see the guy who klled your Lieutenant get away? Come on. (MUSIC OVER ACTION/GIBBS WALKS TO THE STAIRS) ABBY: Gibbs, come here! You were right! GIBBS: DiNozzo! David! McGee! You waiting for an invitation? CUT TO: INT. MTAC - DAY DORN: Just like that? He gets a free pass? MCGEE: When a foreign diplomat is accused of espionage, all we can do is ask him to leave the country. GIBBS: Roca's doing it on his own. DORN: Yeah, but if he could walk at any time, why did he mrder my Lieutenant? ZIVA: Without her testimony? Hard to prove a case against him. DORN: So ... so that's it? There's nothing we can do? GIBBS: No, I didn't say that, Skip. We can still arrest her mrder. Outside of my team, only two people know how Lieutenant Hill died. Napleton and the person who klled her. How'd you know she sht herself? DORN: Uh... uh... Napleton told me. GIBBS: No, she's been in isolation since she found out. MCGEE: And you were the one who told us about the missing flashcard. ZIVA: The only thing tying Roca to the case? Convenient, yes? TONY: Holing up inside the embassy, huh? Booking private planes? You wanted us to focus on Roca. DORN: But Lieutenant Hill stole that flashcard! GIBBS: There was gn residue on the outside of the cereal box we found it in. The flashcard was put there by the kller after he sh*t her. She was framed. DORN: No. Napleton. Napleton could have-- GIBBS: Her alibi checked out, Dorn. ZIVA: I'm impressed. The diplomat takes the blame. We get our mole. And your cover remains intact, Captain. I'll have to remember that one. TONY: You could just rent No Way Out. GIBBS: I'll take it from here. You three go home. Get some rest. Good job. (TO DORN) That resignation you offered the Admiral earlier, I've got a feeling he's going to accept it. (FADE OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x20 - Untouchable"}	foreverdreaming
MUSIC IN: EXT. LODGE - DAY FRANK: We're thrilled you folks decided to stay with us, and just so know, we have free local phone calls, daily in-room coffee, and an AM-FM radio. LILLIAN: Is it clean? ALBERT: Of course it's clean, Lillian. LILLIAN: Well, the last time we were here, I saw a cockroach, Albert. ALBERT: It wasn't a cockroach. LILLIAN: Oh, all of a sudden you're an expert? ALBERT: I'm an entomologist. Thirty two years. I think I'd know a cockroach if I saw one. FRANK: Well, I can assure you folks, our rooms are maintained to the highest standards of... LILLIAN: Cockroach habitability? FRANK: I was going to say cleanliness and neatness. However, if you folks are unhappy with the room in any way... (DOOR OPENS) ALBERT: Stay single. CUT TO: INT. HOTEL ROOM - DAY FRANK: Just let me know and I can see about getting you an upgrade. ALBERT: I think we'll take that upgrade. (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SHEPARD'S OFFICE - DAY "BLOODBATH" ZIVA: In my professional opinion, the risk of serious injury is substantial. SHEPARD: I agree. But there are protocols that have to be followed. ZIVA: Which are useless if it doesn't impart a tactical advantage. SHEPARD: Don't underestimate appearances, Ziva. I have known entire missions to fail because an asset didn't button her lapel properly. ZIVA: I see your point. SHEPARD: So we are in agreement? ZIVA AND SHEPARD: (IN UNISON) Heels. ABBY: I hate court. SHEPARD: Your sacrifice is noted and appreciated. Let's talk outfits. TONY: I say you just go with the heels. (GROWLS) Is that inappropriate? Sorry. Nice gym shoes there, Abs! SHEPARD: Can we help you, Agent DiNozzo? TONY: Yes, I've come to collect Officer David. Boss got the Bat Signal. CUT TO: INT. SQUAD ROOM - DAY TONY: I showed up just in time. Another minute and you guys would've been braiding each other's hair. ZIVA: And who knows where that can lead to, Tony. Where are we going? GIBBS: Little Creek. ZIVA: Little Creek Base? MCGEE: Actually, an off-base Navy lodging facility. Used mostly by TDY personnel and visiting family. Apparently there was some kind of bloodbath. TONY: Mondays. What's the body count? GIBBS: Who said anything about a body, DiNozzo? CUT TO: INT. HOTEL ROOM - DAY ZIVA: Redrum? TONY: All we're missing is a kid on a Big Wheel and a man in a bear suit. ZIVA: And in your head that makes sense to you? TONY: Yeah, it's The Shining, Ziva. Now that you mention it, what was that guy doing in a bear suit? CUT TO: INT. PARKING LOT - DAY LILLIAN: I'm just saying that this wouldn't have happened at the Marriott. ALBERT: Excuse me for not checking the ax-mrder policy when I made the reservation. MCGEE: Did you request this specific room when you called the lodge? LILLIAN: No, we requested the one with the eviscerated squirrels, but this is all they had. ALBERT: What the hell kind of question is that?! GIBBS: Our last one. FRANK: Did I mention we have over a hundred channels in crisp, clear cable? GIBBS: Talk to me, DiNozzo. TONY: Occupants checked out two days ago. Room was cleaned yesterday then locked tight. GIBBS: No sign of forced entry? ZIVA: No, but a previous guest could have kept a key. We're going over lists. TONY: Field test says the blood was human. ZIVA: We don't know what parts those are. Doctor Mallard is still working on the bathroom. JIMMY: I'd take an umbrella if you go in there. CUT TO: INT. HOTEL ROOM - DAY TONY: It doesn't make sense, does it, Boss? If it's a prank, it should be animal blood. If it's a Satanic ritual, where are the pentagrams? ZIVA: It could have been an interrogation that got out of control. MCGEE: Or a drug deal gone bad. TONY: Look at this. How bad does a drug deal have to go for you to leave the drugs behind? GIBBS: Find out what happened here. DUCKY: I know something of what happened. All this scattered, organic detritus, this human fascia, fibrous connective tissue that anchors skin to muscles, if you look closely you see neither skin nor muscle. TONY: Yeah, I'll take your word for it. DUCKY: All of this tissue was skillfully extracted, possibly during extensive post-mortem procedure. GIBBS: Someone was dissected here, Duck? DUCKY: More likely three someones. And whoever the guilty party is, he didn't get his technique from the internet. You're looking for a trained medical practitioner. CUT TO: INT. SQUAD ROOM - DAY MCGEE: Well, no doctors or surgeons stayed at the lodge in the last two months. I'm checking surrounding ho .... hotels. You missed again, Tony. TONY: Did I, McGee? Remember, goals are deceptive. The un-aimed arrow never misses. What kind of loser wrote that? ZIVA: I think it's good advice. TONY: Really? Well, then I have the perfect one for you. In great attempts, it is glorious even to fail. MCGEE: Didn't Vince Lombardi say that? TONY: I'll hold onto that one. But the rest of these are worthless. Nice calendar, McGeek. MCGEE: Hey! TONY: Relax, this stuff will melt your mind. It's not good for you. It makes you weak. MCGEE: To me it was a gift! TONY: From who? Your wet nurse? GIBBS: (V.O.) No. (ON CAMERA) From me. TONY: It's a nice calendar, Boss. GIBBS: Anybody find me my doctor yet? MCGEE: Not yet. But we do know how he got into the room. A maid had her master key stolen two days ago. GIBBS: She see anything? MCGEE: No. ZIVA: I ran prints from the crime scene. Fifteen total. All from registered guests. Only two were in the area last night. GIBBS: Bring them in. ZIVA: Unfortunately, they both have airtight alibis. TONY: Looks like the un-aimed arrow missed after all. Now that amateur hour is over, I draw your attention to the plasma screen in the middle of the room. Psychopathic blood splatter, usually randomly scattered. Take a look at the drips on the wall. It's a little Jackson Pollack. But do you notice anything? MCGEE: They're emanating from a central point. TONY: Step off, McFlower Power. You've had your chance to speak. They're emanating from a central point. Then there's the TV. It looks like it was knocked off the bureau in a struggle of some sort, right? Except that Abby found CRT shards in a bath mat. ZIVA: So? TONY: So... Doctor Giggles laid the television on the floor, covered it with the bath mat to muffle the sound when he broke it. The crime scene was staged, Boss. Victims were klled someplace else. GIBBS: Where? TONY: What, I gotta do all the work? (bat) I'm going to get right on that. GIBBS: Do that, DiNozzo. You're doing most of it anyway. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: I think it best to start with a corner piece, Mister Palmer. JIMMY: Uh... Doctor? DUCKY: Haven't you ever done a jigsaw puzzle? You always start with the corners. May I suggest the plantar fasciae...? JIMMY: The feet? DUCKY: Yes, and then build it up from there. The anterior fasciculus of the... JIMMY: Of the ankle. DUCKY: Mm-hmm. JIMMY: And then the fascia crusis of the lower calf. Well, thank you, Doctor! That is a very helpful analogy. DUCKY: And a fitting one, too, considering the original term for jigsaw puzzle was dissected maps, so named by the Europeans in the late seventeen sixties. They used to take maps and cut them up into irregular pieces for their children to reassemble. (SFX: DOORS SLIDE OPEN) DUCKY: Hello, Jethro, right on schedule. GIBBS: That predictable, Duck? DUCKY: That thorough. GIBBS: Are we still talking three bodies here? DUCKY: Well that's why we call it preliminary findings. Actually, we have the remains of at least four individuals and perhaps considerably more. JIMMY: At first we thought there might be a serial kller. Uh... not that that is a good thing. DUCKY: Unfortunately, Mister Palmer's private hopes were dashed when I noticed in our latest meat puzzle, traces of vascular tissue. It's exactly what you would see if you looked into a medical disposal bin after surgery. That is, if you care to look. Which apparently our perpetrator did. GIBBS: Duck, are you saying these remains are medical waste? DUCKY: It explains the precision of the incisions. All or these pieces of tissue were removed by a surgeon, disposed of, rescued, and then put on display for reasons I will leave you to ponder. GIBBS: We're being set up. DUCKY: So it seems. But set up for what? MUSICAL BRIDGE TO: INT. LAB - DAY ABBY: Sigmund Freud, eat your heart out. McGee, no lurking without a permit. MCGEE: Sorry, just checking to see if you finished the analysis on that powder yet. Field test said it was cocaine, but... ABBY: I told you I was going to email you the results when I was done. MCGEE: Yes. Don't you have court today? ABBY: I'm finished. All I had to do was give a deposition. MCGEE: Oh. So you don't have to go back or anything? ABBY: McGee! You came all the way down here to see me in my court suit! MCGEE: No. ABBY: You totally did! MCGEE: No, I did not. ABBY: Your mouth lies, but your red ears are telling the truth. MCGEE: What? What's wrong? ABBY: Do you smell that? MCGEE: No. ABBY: It's almonds. We have to get out of here! MCGEE: What's going on? ABBY: Cyanide gas! (MUSIC OVER ACTION/MCGEE DRAGS ABBY FROM THE LAB) (SFX: WARNING HORNS B.G.) (SFX: BEEP TONES) (MUSIC OUT) FADE IN: INT. LAB - NIGHT (SFX: VACUUMING B.G.) ERT MEMBER: Hydrogen cyanide gas. Another three minutes in here, game over. CUT TO: INT. CORRIDOR - NIGHT SHEPARD: How did this happen? TONY: Abby said the coke was bad. Contained potassium cyanide, which turned gaseous when she added the... uh... the acidified cobalt thio... cyn... cio... ERT MEMBER: Cobalt thiocyanate. TONY: Cobalt thiocyanate, yeah, from her drug test kit. SHEPARD: So this was an accident. GIBBS: Abby doesn't have accidents. SHEPARD: Well, Abby also doesn't have enemies. I mean, it's not like we're talking about Agent DiNozzo. TONY: Hey! Ma'am... GIBBS: The crime scene was a set-up, Director. TONY: Right now Abby's our best lead. While she and McGee were playing in the showers, Ziva and I took a walk through the world of Sciuto. Our Mistress of the Dark is keeping secrets from us. (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) CUT TO: INT. AUTOPSY ROOM - DAY ABBY: (MUFFLED) This is so embarrassing. But in my defense, what self-respecting drug dealer cuts his cocaine with potassium cyanide? MCGEE: (MUFFLED) Obviously one that doesn't care about repeat business. DUCKY: Luckily, your exposure to the gas was brief. I don't anticipate any long-term ramifications. GIBBS: Better not be. You two don't have permission to be sick. ABBY: We're fine, Gibbs. The only damage done was to my ego. It was a newbie accident. (bat) What? TONY: We're not so sure it was an accident, Abs. MCGEE: Not sure meaning what? ZIVA: We think whoever set up the crime scene might be after Abby. ABBY: Me? Who would want to kll me? I mean, Tony I understand... TONY: Hey! GIBBS: Does the name Mikel Mawher ring a bell? ZIVA: It should. He placed over two hundred phone calls to you in the last four months. One of them right before the accident. ABBY: You went through my phone records? TONY: And your credit card bills. Did you really buy this guy Mawher a straightjacket for his birthday? ABBY: Okay, slow down, okay? MCGEE: It sounds like you two were pretty serious. TONY: Until she filed a restraining order against him. I'd say the straight jacket was a red flag there, Abs. DUCKY: How come we never heard about this gentleman? ABBY: Okay, I dated him last year. And things just got a little out of hand. TONY: Did I mention the restraining order? ABBY: Okay, it was a lot out of hand. GIBBS: Why didn't you come to me, Abby? ABBY: Because, Gibbs, I wanted him restrained. I didn't want him beaten to a pulp with a baseball bat. And I'm embarrassed. It wasn't a great taste in boyfriends. TONY: Yeah, I saw the web shrine he dedicated to you. ZIVA: W W W dot my hot dark angel dot com. ABBY: Okay, it's creepy. But that's not dangerous. He just can't accept that it's over between us. He's not a violent type. TONY: The guy cleans up crime scenes for a living, Abs. ABBY: I know. That's what I liked about him. But I'm telling you, Gibbs, he's not your man. You're going to pay him a visit anyway. Can you pick up my red studded dog collar when you're there? MUSICAL BRIDGE TO: EXT. OFFICE BUILDING - NIGHT ZIVA: (READS) "Free decomposition odor removal included in all double homicides."(SFX: LOUD MUSIC PLAYS B.G.) TONY: I can see why she fell for the guy. They even have the same taste in music. (DOOR OPENS) CUT TO: INT. OFFICE - NIGHT (SFX: LOUD MUSIC CONTINUES B.G.) MIKEL: Hey! You ruined my sht! (bat) I take that back. Not bad. I'm actually re-doing my before and after shts for my new brochures, "You name the crime scene, we wipe the grime clean." So what do you got, huh? A sub accident? explsive decompression? Never worked with NCIS before. TONY: Yeah, the restraining order probably made that kind of difficult, huh? MIKEL: Yeah, I - I don't know what you're talking about. GIBBS: The only reason you're still able to walk is because I never heard about you until today. MIKEL: That retraining order. Look, this is not necessary, okay? All right, I shouldn't have called her earlier. I just wanted to apologize. TONY: You got something to apologize for, do you? MIKEL: Yeah, I was a little crazy before. Look, I was in therapy. Okay, I found out that I was projecting my own obsession onto Abby. And therefore, she was not willing to reciprocate it. And I just wanted to call and apologize for any pain and suffering I put her through. Is Abby in some kind of trouble? GIBBS: You tell me. MIKEL: Oh my god! ZIVA: Look familiar? MIKEL: No! But for two grand I can make it look like brand new. GIBBS: Hey! MIKEL: Okay, look. I don't know what you're talking about. Okay, I'm cured now. I'm good. I'm on anti-depressants. I have a new girlfriend. TONY: And now all you need is an alibi for the last two days and you're golden. MIKEL: Well, then I'm golden, you know? It's been drive-by central since the full moon, man. All the crazies are out now. TONY: And that makes you golden how? MIKEL: Because I've been with D.C. Metro for two whole days. That's why. CUT TO: INT. SQUAD ROOM ABBY: (V.O.) The lunar effect is a myth. There is no statistical correlation (ON CAMERA) between the faces of the moon and human behavior. That's why it would never work with us. ZIVA: Because the lunar effect is a myth? ABBY: No, because I'm a scientist and he plays with voodoo dolls. MCGEE: But you play with voodoo dolls, Abby. ABBY: I meant it metaphorically, McGee. I don't think they actually do anything. I just play with them, you know, to relax. TONY: Well, it looks like you can put away your Mike Mawher doll, Abby. GIBBS: Metro confirmed Mawher's alibi. TONY: He cleaned eight crime scenes over the past four days. Been surrounded by homicide detectives the entire time. MCGEE: Did any of the crime scenes match what we found at the Navy Lodge? GIBBS: Nope. Not even close. ABBY: Then I'm off the hook. ZIVA: Not necessarily. He could have had an accomplice. ABBY: Oh, leave it to the assassin to rain on my parade. TONY: Or maybe it was just a lab accident. I mean really, who would want to kll Abby? MCGEE: You know, it's true. It's not like someone was after Tony. ZIVA: No. That's a suspects list I wouldn't want to run down again. MCGEE: Ha ha! I think the joke's over. We get it. GIBBS: And our suspect list, Ziva? ZIVA: Ah, we don't have one. (bat) But I can contact the local medical waste facilities and see if anyone reported a break-in. GIBBS: DiNozzo. TONY: I'll run a background check on the Lodge employees. Maybe someone's got a vendetta against the cleaning staff. GIBBS: McGee? MCGEE: Well, I can um... I can go check on... Boss, I'm not really sure what I should do. GIBBS: Go home. Take Abby with you. ABBY: Gibbs, I am fine! I only have one stalker and he has an alibi. GIBBS: I don't want you to be alone tonight, Abs. You're going with McGee. ABBY: Great. Like I haven't been traumatized enough today. CUT TO: INT. MCGEE'S APARTMENT - NIGHT (SFX: VIDEO gn B.G.) ABBY: Nothing like a nice relaxing video game to calm the nerves. Pretty good, huh? MCGEE: I've seen better. Did you change the refresh rate? ABBY: I downloaded new OpenGL drivers for you. You're getting a way higher FPS now. MCGEE: But I was in the bedroom like a minute. ABBY: I also optimized your TCP-IP settings. Increased your throughput by fifty percent. MCGEE: Bedtime. I am going to take the sleeping bag. ABBY: We're adults, McGee. We can share the same bed. MCGEE: If you promise to keep your hands to yourself. ABBY: Clearly you haven't been. Your shirt smells like J Lo Glow. Oh, I can't find my toothbrush! I think it fell out in your car. MCGEE: That's all right. Your old toothbrush is still in my bathroom. ABBY: You kept my old toothbrush? (bat) That's a little creepy, McGee. Maybe you should take the sleeping bag. MCGEE: What is creepy about it? I just never bothered to throw it out. What? ABBY: This is not my toothbrush. MCGEE: Well, then I must have bought a second one and forgot about it. ABBY: It's a ladybug toothbrush, McGee. That's for a cute girl named Gina Marie that bake cookies and wear J Lo Glow. Not for a quasi-manly Federal agent who carries a gn. MCGEE: Do you want to use it or not? ABBY: An anonymous toothbrush? I would rather remove my own tonsils with Typhoid Mary's straight razor. MCGEE: Where are you going? ABBY: To get my toothbrush. MCGEE: No no no. You're not leaving the apartment. ABBY: Why not, McGee? We both know Gibbs is just being over-protective. MCGEE: I'm not worried about you. I'm worried about me, and if Gibbs finds out I let you leave. ABBY: That's a really good point. You go. MCGEE: I am not leaving you alone either. ABBY: Fine, then. I'll just use your toothbrush. MCGEE: Don't open the door for anyone.(DOOR OPENS) (DOOR CLOSES) (SFX: VIDEO gn B.G.) (KNOCK ON DOOR) (DOOR OPENS) ABBY: What?! MCGEE: I told you not to open the door for anyone! ABBY: What'd you forget? MCGEE: My keys? ABBY: Why do you need keys if I'm here? MCGEE: My car keys. Now listen to me. You do not open the door, okay? Not for anyone. Or I will tie you up. ABBY: Really? (DOOR CLOSES) (SFX: VIDEO gn) (KNOCK ON DOOR) (DOOR OPENS) MIKEL: Hi, Abby. (MUSIC UP AND OUT) MUSIC IN: INT. MCGEE'S APARTMENT - NIGHT MIKEL: Hey, I forgot how beautiful you are. I mean, up close, I mean. ABBY: What are you doing here, Mikel?(DOOR CLOSES) MIKEL: You're in terrible danger. ABBY: I got that part. MIKEL: Oh, no no. I'm here to save you. ABBY: What are you saving me from, Mikel? MIKEL: Why do you keep asking that after what happened in your lab? ABBY: Oh, right. My lab. How did you know about that?! (SFX: ABBY THROWS THE TYPEWRITER TO THE FLOOR) MIKEL: Could we please not do this right now? Wait, wait! ABBY: (SHOUTS) McGee! MIKEL: There you go, playing the frightened victim again! ABBY: (SHOUTS) Yeah, McGee! MIKEL: ... Casting me in the role as the big, bad psychopathic stalker. ABBY: Believe me, the role is yours! MIKEL: Well, I'm sick of it, okay? I thought almost dying in your lab would make you realize how much you cared about me and how much I care about you. But I realize I was wrong. Maybe I was foolish for trying and trying. And trying. But I'm telling you, you're going to thank me. Okay? You still carry the handcuffs I gave you. That's really great 'cause I still have the key. CUT TO: INT. BEDROOM - NIGHT ABBY: I'm never picking up a guy in a cemetery again. MIKEL: (V.O.) Listen, Abby, I just want to start over! ABBY: (SHOUTS) Mikel, go away! CUT TO: INT. HALLWAY - NIGHT MIKEL: We had fun, didn't we? CUT TO: INT. BEDROOM - NIGHT ABBY: Yeah, until you bugged my phone, you nut-job! CUT TO: INT. HALLWAY - NIGHT MIKEL: I could pick a lock, too. You forgot about that! (MUSIC OVER ACTION) (ABBY RUNS TO THE BATHROOM) (DOOR OPENS) (ABBY AND MCGEE GASP) ABBY: McGee! (SFX: MOTOR CYCLE STARTS B.G.) CUT TO: INT. SQUAD ROOM - DAY ZIVA: Nothing on the statewide BOLO yet. Get off your knees. It's just a typewriter, McGee. MCGEE: No ATM transactions. Hasn't touched his credit cards. Was a typewriter. And she messed up my motherboard so badly, the BIOS got screwed up and I had to do a hard reset. GIBBS: How traumatizing for you, McGee. TONY: Go easy on him, Boss. Even a hair out of order traumatizes McGee. Put this on the plasma. Where's your chair? GIBBS: He doesn't deserve to sit. TONY: With that ass? Didn't find Mawyer, Boss. Guy's totally disappeared. But I found this in his apartment. ZIVA: He's been tracking her for a while. MCGEE: So much for that restraining order. TONY: I spoke to his supposed girlfriend. They went on one date. All he talked about was Abby. I'll find out more this weekend. We're having dinner. GIBBS: No, you don't eat until you find the guy trying to kll Abby. MCGEE: Boss, actually, I have an idea about that. I've been analyzing the incoming packets on Abby's system. There appears to be a shellcode. (bat) Um... I think that Mawyer's been worming into Abby's computer to monitor her communications. ZIVA: Do you think you can trace the worm? MCGEE: If he tries to access again, yeah. GIBBS: Coordinate with Abby. MCGEE: Boss, you're going to have to try to get her out of the elevator first. CUT TO: INT. ELEVATOR - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) ABBY: Hey, Gibbs. (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) ABBY: Did you know that only five of the two and a half million deaths every year occur in elevators? GIBBS: No. ABBY: Ziva gave me this. And Cynthia gave me the pepper spray. The knuckles are Director Shepard's. GIBBS: No one is going to hurt you, Abby. ABBY: You're just saying that to make me feel better. GIBBS: Did it? ABBY: Yeah. Can you say it again? GIBBS: Nobody is going to hurt you, Abs. ABBY: Can I stay at NCIS until you catch him? GIBBS: Mm-hmm. I'll move your whole lab into the elevator if it'll make you feel better. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) CUT TO: INT. MTAC ROM - DAY NCIS TECH: Singapore has infiltrated Abu Saif. SHEPARD: Good. Forward this to Sealift Command, ASAP. NCIS TECH: Right away, Ma'am. SHEPARD: I picked a bad week to cut out caffeine. GIBBS: Abu Saif? SHEPARD: Singapore's mole believes that they've infiltrated a pre-positioned ship at Diego Garcia. I'll fill you in later. How's Abby? GIBBS: She's scared. SHEPARD: I thought that Mawyer fellow had an airtight alibi. GIBBS: Alibi, yes. Airtight... SHEPARD: Is that... Jamaican blend? GIBBS: Alibi, yes. Airtight, no. Last thing a homicide cop worries about is his clean up guy. SHEPARD: Yeah, well your clean up guy just made an interesting play. Abby's been subpoenaed again. GIBBS: I thought she was done with the court. SHEPARD: She was until the defense got an anonymous email saying that the consultant for the prosecution had gone into protective custody. GIBBS: Mawyer must have found out... SHEPARD: You don't use cream and sugar, do you? GIBBS: Mawyer must have found about the case from Abby's computer. SHEPARD: And now he's trying to lure her out. GIBBS: Does the Defense know they're being used? SHEPARD: They don't care. My guess is that they're going to use Abby's restraining order to claim that her judgment is faulty. GIBBS: Her judgment? SHEPARD: Yeah. The Defense is going to argue that she makes bad choices. I don't know this defense lawyer. I've never dealt with her, but obviously she likes to win. GIBBS: She does. SHEPARD: You know her? GIBBS: Yeah, I thought I did. If she wants to talk to Abby, she can do it here. SHEPARD: Yeah, agreed. I'll pass it on. Jethro, could you leave-- GIBBS: I already did, Jen. CUT TO: INT. SQUAD ROOM - NIGHT ZIVA: Any luck with that trace yet, McGee? MCGEE: Nope. ZIVA: Maybe we should widen the perimeter of Mawyer's BOLO. Hey, Tony! TONY: Not so loud! I was up all night scrounging through that guy's garbage, for Pete's sake. I Jack Kerouac, baby. I'm bat. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) SPOONER: So the drive wasn't too bad. STEVENSON: At four hundred and hour, I'm sure you'll reconsider when you get my bill. (SFX: TONY JUMPS UP) TONY: I'll take it from here. Thanks a lot. Uh... hi. May I help you? STEVENSON: Yes. First eat a breath mint. And then you can take me to the over-protective candy-ass who made me come all the way down here for a simple deposition. TONY: He's over there. STEVENSON: I should have known. Hello, Jethro. GIBBS: Hello, Ginger. Or should I say overzealous defense attorney who came all the way down here to harass my forensic scientist? SPOONER: Do they know each other? GIBBS: Nothing gets by you, does it? STEVENSON: Harassment is illegal. Whereas I have a subpoena. GIBBS: How about that. So do I. STEVENSON: You want the email that tipped us to the restraining order? Why? MCGEE: We're hoping there's routing information in the header that can help us trace it. STEVENSON: Going after the whistle-blowers now, are we? GIBBS: No, just stalkers. SPOONER: Wait a minute. Slow down a second. Who's being stalked? TONY: Her name is Abby. ZIVA: And your lawyer is going to try and use her bad taste in men to impregnate her credibility. TONY: Impugn, Ziva! ZIVA: Yes. SPOONER: What does any of this have to do with the embezzling charges? TONY: Ooh! Embezzling. Nice! How much? SPOONER: Oh, they say ten million, but I'm innocent. I was framed. TONY: Yes. In your case I actually believe that. STEVENSON: Don't say another word. Where is my witness? GIBBS: Where's my e-mail? (MUSIC OVER ACTION/ STEVENSON AND GIBBS EXCHANGE PAPERS) CUT TO: INT. ELEVATOR - NIGHT (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) ABBY: Hi. CUT TO: INT. SQUAD ROOM - NIGHT MCGEE: The e-mail will help narrow down the DNS server, but still have a ways to go on the trace. GIBBS: I thought computers were supposed to make things go faster, McGee. MCGEE: They do. It's just that the X-originating IP address leads to a public IP address. I'll let you know when I have something. GIBBS: Ziva, go home. ZIVA: I'm staying if you're staying. GIBBS: I'm staying. MCGEE: I'm staying. TONY: I'm staying, too. ZIVA: I'm sure Abby feels safer already. CUT TO: INT. ABBY'S LAB - NIGHT DUCKY: I see you vacated the elevator for the evening. ABBY: It wasn't quite so cozy in there after an hour with Queen Boudica. Did you know that the five people who die in elevators every year, they only spend an average of sixty seconds in there a day? DUCKY: And you've already been in one for six hours. ABBY: Exactly. Increasing my risk by a thousand fold. I'm lucky to be alive, Ducky. DUCKY: Well, it's not luck when you have Leroy Jethro Gibbs looking after you. However, one cannot be too careful so I brought you a present. It's a safety whistle. Emits a hundred and twenty decibel blast. One good blow of this and your attacker's eardrums are shattered. ABBY: Thank you, Ducky. CUT TO: INT. SQUAD ROOM - NIGHT MCGEE: Boss, getting a verification ping on my tracer program. Trying to back trace.(SFX: KEYBOARDING) TONY: Do you think you can type any harder, McGee? MCGEE: This guy's good. He's bypassed all our authentication routine. Ziva, are you getting this? ZIVA: Yes. It looks like Mawyer accessed Abby's accounts thirty minutes ago. GIBBS: McGee. MCGEE: Yeah? Used her terminal to send an e-mail to ... ZIVA: The Pass and I.D. Office on the Navy Yard? GIBBS: He was giving himself a drive-on. MCGEE: (INTO PHONE) Security! CUT TO: INT. LAB - NIGHT (PHONE RINGS) ABBY: (INTO PHONE) Jimmy, you don't have to keep calling me. I'm fine. MIKEL: (V.O./FILTERED) It's Mikel, Abby. Don't hang up. ABBY: (INTO PHONE) Oh, great. My biggest fan. MIKEL: (V.O./FILTERED) Look, I know we got off on the wrong foot. ABBY: (INTO PHONE) The wrong foot?! The only right foot is my foot up your --! MIKEL: (V.O./FILTERED) Abby, Abby! Listen! I need to see you. ABBY: (INTO PHONE) You really are insane. MIKEL: (V.O./FILTERED) Look, if you would just trust me, I promise, nothing will happen to you. ABBY: (INTO PHONE) And if I don't? What? You're going to tear up that nice collage you were making for me? MIKEL: (V.O./FILTERED) Let's just say you're not as safe... as you think you are. (MUSIC UP AND OUT) MUSIC IN: INT. LAB - NIGHT MIKEL: (V.O./FILTERED) Abby, somebody tried to kll you in your own lab! You're not safe in there. ABBY: (INTO PHONE) Oh, and let me guess. You're the only-- CUT TO: EXT. LAB - NIGHT ABBY: (FILTERED) ...Person that can protect me? MIKEL: (INTO PHONE) See? You're starting to understand. That's good. CUT TO: INT. LAB - NIGHT ABBY: (INTO PHONE) You know that time somebody broke into my house and stole my mail? MIKEL: (V.O./FILTERED) Yeah, that was pretty scary, huh? ABBY: (INTO PHONE) Yeah, and that crazy freak that kept... CUT TO: EXT. LAB - NIGHT ABBY: (V.O./FILTERED) ...Slashing my tires. CUT TO: INT. LAB - NIGHT MIKEL: (FILTERED) I was really worried about you then, Abs. ABBY: (INTO PHONE) Mikel, that was you! You slashed my tires! You stole my mail! MIKEL: (V.O./FILTERED) What does any of that matter, as long as it made you realize.... CUT TO: EXT. LAB - NIGHT MIKEL: (INTO PHONE) ... Your true feelings for me, Abs. Huh? CUT TO: INT. LAB - NIGHT MIKEL: (V.O./FILTERED) No, no, no, no. Try using the S.I.D. CUT TO: EXT. LAB - NIGHT MIKEL: (INTO PHONE) Instead of the E.S.N. for the registration request. CUT TO: INT. LAB - NIGHT ABBY: (INTO PHONE) That's a good idea. MIKEL: Hey! ZIVA: Abby down!(SFX: DOORS SLIDE OPEN) ABBY: He was right there! TONY: He's here, McGee. On the move! MCGEE: (V.O./FILTERED) MPs on scene, Tony. GIBBS: Are you okay? ABBY: No! ZIVA: (SHOUTS) Clear! TONY: Clear! GIBBS: Ziva, lock down the yard. No in or outs. We'll find him, Abby. ABBY: Well then I can't stay here, Gibbs. TONY: Definitely not staying at McGee's place. ABBY: No place is safe. If he can get to me on the Navy Yard, he can get to me anywhere. GIBBS: Not anywhere. Not anywhere. CUT TO: INT. BASEMENT - NIGHT ABBY: Nothing like a nice quiet dungeon-like basement to calm the nerves. (GIBBS WALKS DOWNSTAIRS) GIBBS: You need to sleep, Abby. ABBY: I know! I tried. Every time I close my eyes, I see Mikel. GIBBS: With the grain. ABBY: ABBY: I thought I was. I don't understand why people drink alcohol when they're depressed. Because alcohol is a depressant. Now I'm so depressed ... and I'm nauseous. And I'm really drunk. (CONT.) Which means that tomorrow I have to go fight a hangover while I'm in court while some ambulance-chasing attorney tries to attck my credibil - what is wrong with me, Gibbs? What did I do to deserve this? GIBBS: It's not about you, Abby. It's about him. ABBY: Then why do I feel so guilty? GIBBS: I don't know. Why do you? ABBY: Because... I think this might all be my fault. GIBBS: Maybe it is. ABBY: How could you say that to me, Gibbs? I didn't do anything wrong. Just because some defective lunatic can't get it through his thick skull that I think he is a defective lunatic! That is not my fault, Gibbs! That's not my fault at all! This is not my fault! It's not my fault. Hm. I see why you like to work on boat, Gibbs. Very, very cathartic! (SFX: WOOD BREAKS) ABBY: Oops. Suddenly having a stalker on the loose isn't so scary. GIBBS: He's not on the loose, Abby. That's what I came down here to tell you. DiNozzo called. The Coast Guard picked up Mikel Mawyer trying to cross the Anacostia. CUT TO: INT. OBSERVATION ROOM MIKEL: This is harassment, okay? I'm going to file a restraining order against your whole department. ABBY: Knock yourself out. They did wonders for me. SHEPARD: It's over, Abby. ABBY: Not until he finds another loophole to crawl out of. He will. You don't know him. SHEPARD: No, but I know, Gibbs. (DOOR OPENS) MCGEE: Excuse me, Director. The Federal Marshall is here for Abby.(SFX: GIBBS AND MIKEL B.G.) ABBY: Just when he was getting good. SHEPARD: Judges don't like to be kept waiting. ABBY: Let me know how it turns out. SHEPARD: Don't worry. Gibbs won't let him crawl out of anything. CUT TO: INT. INTERROGATION ROOM MIKEL: You guys have it all wrong! I'm not the one trying to hurt Abby. TONY: No, you're just the misunderstood lover who flies in at the last second to be her savior. That how the game's played? MIKEL: This isn't a game, okay? I'm trying to protect Abby here. GIBBS: You have an interesting way of showing it. MIKEL: I've got no choice. This was the only way I could get her to listen to me. You may not have noticed, but Abby and I have been going through a really rough patch lately. GIBBS: Hey! There is no Abby and you. TONY: Rough patches don't usually include cyanide. MIKEL: MIKEL: That wasn't me! I didn't know Abby was in trouble until after you came to my office. Look, I'm not the one trying to hurt Abby. But I know who is. (CONT.) Not his name, but his picture. Right there. After you guys came to see me, I started to go through all my old photos. GIBBS: Exhibits A through G of you violating your restraining order? MIKEL: It's not illegal if I stay more than a hundred yards away. TONY: It is if you harass, follow, or thrat... MIKEL: Semantics, okay? Anyway, I'm going through all my old photos, and the same guy kept popping up over and over again. That's got to be your guy. There. Right there. Him. Scary guy right there. TONY: That scary guy? The really scary guy right there? MIKEL: No, no. The other guy. Zoom in on the other guy. Yeah, keep going. Keep going. Keep rolling. You see what I'm saying? I wasn't the only one following her. The only reason I was able to even worm into Abby's computer and hack onto her drive in the first place because somebody else had already cracked the authentication protocols before me. MUSICAL BRIDGE TO: INT. GARAGE - DAY (DOOR OPENS) ABBY: Thanks for the lift. I could really use it after the week I've had.(DOOR CLOSES) DRIVER: Don't forget your seatbelt. CUT TO: INT. LAB - DAY MCGEE: (INTO PHONE) She's right, Boss. Mawyer's worm... CUT TO: INT. OBSERVATION ROOM MCGEE: (V.O./FILTERED) ... Didn't penetrate Abby's system until after the authentication calls were cracked.(MIKEL'S MUFFLED SHOUTS B.G.) GIBBS: Who cracked them? CUT TO: INT. LAB - DAY MCGEE: (INTO PHONE) It's going to take some time. (SCENE CUT) INT. OBSERVATION ROOM SHEPARD: We don't have time! That was the federal marshall who was supposed to pick up Abby. TONY: Supposed to? SHEPARD: Someone slashed the tires on his transport. He hasn't left yet. (DOOR OPENS) MUSICAL BRIDGE TO: INT. VAN - MOVING ABBY: So I guess the lesson is to always trust your instincts, you know? Like with you.... you scare me. So we could never date. But don't feel bad. I mean, you're a federal agent. You should scare people. That's your job. You -- (CELL PHONE RINGS) (MUSIC OVER ACTION/ABBY STRUGGLES WITH THE DRIVER) CUT TO: INT. SQUAD ROOM - DAY ZIVA: No answer on her cell phone. MCGEE: Running a trace. SHEPARD: State Police have been notified. CUT TO: INT. CAR - MOVING ZIVA: (V.O./FILTERED) Still no answer, Gibbs. GIBBS: Keep trying! TONY: How far could he have gotten? GIBBS: Far enough. He knows his window is small. TONY: (INTO PHONE) McGee, I'm not going to ask again! MCGEE: (V.O./FILTERED) Location's coming up. CUT TO: INT. SQUAD - DAY MCGEE: (INTO PHONE) Sending GPS coordinates .... CUT TO: INT. CAR - MOVING MCGEE: (V.O./FILTERED) ... To your PDA. TONY: Okay, I got it. This can't be right. It says we're right on top of her! GIBBS: That's because we are. (SFX: CAR TIRES SCREECH) (SFX: SEMI TRUCK MOVING) GIBBS: DiNozzo! (SFX: MUFFLED SCREAMS B.G.) (MUSIC OVER ACTION/GIBBS AND TONY RUN TO THE PARKED VAN) (DOORS OPEN) ABBY: I'll be with you in a minute, Gibbs. And don't look up my skirt!(SFX: DRIVER SCREAMS) (SFX: GIBBS LAUGHS) GIBBS: Okay. CUT TO: EXT. COURTHOUSE - DAY TONY: So how did it go? ABBY: Horrible. The judge ruled all of my physical evidence inadmissible. GIBBS: Then threw out the case. TONY: ht you hard, huh? ABBY: Actually, no. She didn't bring up my bad taste in men. She attcked the science. STEVENSON: It always was about the science. I only questioned you on the restraining order to throw the prosecution off my real game plan. ABBY: Human-scent detection is a viable forensic tool! STEVENSON: Which has yet to be fully vetted and peer-approved. SPOONER: Lucky for me. GIBBS: Scent evidence is the only physical evidence tying the defendant to the money he took. TONY: We're saying you're a very smelly man. SPOONER: Hey, I was proven innocent, remember? ABBY: Actually, you just weren't found guilty. There's a difference. SPOONER: I'll keep that in mind while I'm getting a tan on the beaches of Bora Bora. STEVENSON: Don't take it so hard. I know it was going to go down like this right from the very beginning. GIBBS: Too bad your client didn't. TONY: Yeah, you should have trusted your lawyer there, Giggle-man. ABBY: Instead of spending all of that money hiring a ht-man to take out the star witness, A.K.A. me. STEVENSON: What are they talking about? SPOONER: I have no idea. GIBBS: You paid him to kll. You didn't pay him to keep his mouth shut. TONY: That dude even gave you credit for staging the bloodbath at the Navy Lodge. SPOONER: You guys think you're so smart! STEVENSON: Terry, don't say a word. TONY: Back in the car. Let's go. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM (DOOR OPENS/ CLOSES) MIKEL: I was right, wasn't I? Huh? That's right. Abby would be dad by now if it wasn't for me. GIBBS: Is that what you think? I think Terry Spooner never would have gotten as close as he did without you as the distraction, that the real danger here was you. MIKEL: No, no. People accuse me of playing mind games. No. GIBBS: Metro Cops found your car. They found the g*n. Found the su1c1de note you wrote in Abby's handwriting. MIKEL: That was just a last resort. Look, I love her. It's... I love her, you know? You don't get it, do you? Huh? She wants everybody to believe that ... that she doesn't love me. (FILTERED) Hell, I think she even believes it sometimes. (ON CAMERA) I'll tell you what. If you don't care (FILTERED) about me, then how come you can't take your eyes off me right now? Huh? You can lie to the rest of the world, (ON CAMERA) but you can't lie to your heart. Can you, Abby? Oh, no no no. (SHOUTS) Abby! Abby! Look, I know you're in there. CUT TO: INT. CORRIDOR - DAY MIKEL: (V.O.) Abby! (MUSIC OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x21 - Bloodbath"}	foreverdreaming
MUSIC IN: INT. NCIS GARAGE - DAY (MUSIC OVER ACTION/VAN BACKS INTO THE GARAGE) (SFX: BEEPING) TONY: Good God Almighty! Get me out of here. My head is about to explode. That was the longest three hours of my entire frickin' life. ZIVA: Well, you're the one who said no to the muzzle, Tony. I wanted to shut his pot hole two hours ago. BRIAN: It's pie hole. And by the way, we went through the Arby's drive through. No such thing as a ride-through. How long have you lived here anyway? Man, get off me! ZIVA: I'll pay you to take him upstairs. Just name your price. TONY: My rock bat your scissors. Besides, I've got five million in heroin. BRIAN: That's nothing. TONY: Really? I have a feeling your South African suppliers won't feel the same way. ZIVA: Yeah, considering how much money you owe them, you should be thankful you're in our custody. TONY: We're your new best friends! BRIAN: I don't care what you do to me. I'm not talking! TONY: I find that really hard to believe. All yours, Agent David. BRIAN: Come on, man! TONY: Yeah. BRIAN: Yeah. Take off the cuffs! Yeah, what's his problem, huh? ZIVA: You! You're insulting, you're crude, and most of all you are extremely annoying. BRIAN: I'm annoying? He was the one rambling on and on about Top gn, giving me a freakin' migraine! I didn't realize I had to sit in silence the entire trip. Last time I checked, the First Amendment guaranteed my-- ZIVA: (SHOUTS) Enough! (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) ZIVA: Get in. BRIAN: No. CUT TO: INT. SQUAD ROOM - DAY GIBBS: He's a newbie.(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) ZIVA: He's dad. (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "JEOPARDY" DUCKY: I've been traveling to crime scenes for a great many years, but I can say with complete confidence, this is the shortest commute I have ever had. JIMMY: And one of the first times I didn't get us lost. DUCKY: True. TONY: All yours, Duck. MCGEE: Sure appreciate all the help, Tony. TONY: That's a nice outfit, Probie. MCGEE: Okay, the handbook says that we are required to wear this outfit at all active crime scenes. You know that. TONY: Yeah, but not in our own building. That's like wearing a nametag in your own apartment. DUCKY: Tony? Come here. How is she holding up? TONY: Oh, I uh... I don't know. I haven't talked to her yet. DUCKY: May I ask why? GIBBS: Because I told him not to, Ducky. JIMMY: Excuse me. GIBBS: Right now she's a suspect, not an investigator. MCGEE: Boss, you don't think Ziva's really capable of this, do you? Well, I mean she's capable of it, but... you don't really think that she would just... GIBBS: kll someone? MCGEE: Not without a good reason. TONY: Look, we all know that Ziva has crazy ninja skills but, I mean, she's got some self control, right? Not a lot, some? Never mind. DUCKY: Forgive me for overstepping, Jethro, but you and I both know that this is far beyond Officer David's character. GIBBS: It's not me or you I'm worried about right now, Duck. We have a cause of death? DUCKY: Well, at this point I'd only be speculating. We won't know anything specific until I get him back... well, downstairs, I suppose. GIBBS: No bruising? DUCKY: Yeah, well the only injury I've been able to find is this on the top of his head here. Ow! Sorry. (DUCKY AND GIBBS BUMP INTO EACH OTHER) GIBBS: I'll zig, you zag. DUCKY: Here, allow me. GIBBS: It looks recent. DUCKY: Yes, well based on its location, it appears that he struck his head on one of these rails when he fell. Oh, come on, Jethro. I mean there's no sign of any physical altercation. GIBBS: Duck, with her training, there wouldn't be. (TO ZIVA) Hey! CUT TO: INT. CORRIDOR - DAY ZIVA: You ready to hear my side of the story? GIBBS: We're not going to get a chance to hear his. ZIVA: I didn't touch him. Hardly at all. When the elevator doors opened, he refused to get in. If this would have been a year ago, I would have snapped his little neck. But it's not and I didn't. I asked him several times to step into the elevator. He wouldn't cooperate. And that's when I struck him. GIBBS: How? ZIVA: With my fist. GIBBS: Where? ZIVA: In the jugular. ABBY: Can you guys believe I'm about to go to my first crime scene? (bat) It's not a good time. ZIVA: It was just a little love tap. Choked him up for a couple of seconds, that's all. Look, I know this looks bad. I also know with Brian Dempsey dad, it's nearly impossible to bring down his South African distributors, much less prosecute his brother. GIBBS: That's not our biggest problem here, Ziva. ZIVA: It appears there's only one way to fix this. I've seen it in your American movies. This is where I resign. GIBBS: Next time you hand me your badge, you had better be prepared to lose it. CUT TO: INT. SQUAD ROOM - DAY ABBY: Wow, after all these years I'm finally losing my crime scene virginity. TONY: Wow. I don't think that's ever been said before. ABBY: Oh. MCGEE: I think we've got enough crime scene pictures. ABBY: Sorry, McGee. I just ... maybe your hat is turning me into some sort of super agent. TONY: That's weird, because it never had that affect on McGee. ABBY: Why do I feel like everyone's staring at me? MCGEE: Probably because they are. ABBY: Did I do something wrong? TONY: Have you ever been to Disneyland, Abby? ABBY: Every summer. TONY: Yeah. You know those camera-toting tourists with the tall white socks up to their knees wearing fanny packs? ABBY: Well, yeah. We'd spend half the time laughing at - (LONG bat) Oh, my god! I've turned into my Uncle Larry! CUT TO: INT. AUTOPSY ROOM - DAY JIMMY: This man doesn't look a year over thirty, Doctor. DUCKY: According to his arrest report, he would have been twenty-five next month. JIMMY: So assuming Ziva didn't kll him, that means he just dropped dad? DUCKY: It would appear that way, wouldn't it? JIMMY: He's so young. DUCKY: Yes, as my father used to say, "We must live for today, because yesterday is gone, and tomorrow may never come." JIMMY: Wow, that's really beautiful, Doctor. DUCKY: Yes, unfortunately, he never practiced what he preached. He was always a bit of a penny-pincher, a Papa Scrooge, if you like. That was one reason that he and my mother went their separate ways. JIMMY: Yeah, most people don't know this, but financial disputes are the second leading cause of divorce. DUCKY: Really? What's number one?(SFX: DOORS SLIDE OPEN) GIBBS: Marriage. JIMMY: Actually, I'm pretty sure it's infidelity. See, the study I read said that - never mind. DUCKY: I understand your sense of urgency, Jethro, but my examination is still underway. GIBBS: Just tell me what you know, Duck. DUCKY: Well, so far I found no life-thrat abnormalities. GIBBS: What about his throat? DUCKY: Well, we did, in our internal examination, find a slight irritation of the anterior jugular, perhaps caused by a physical blow. GIBBS: Mm-hmm. Was the blow fatal? DUCKY: It didn't appear to be. Look, I won't know the cause of this man's death until I've completed my work. MRI's, Abby's tox screen, and they're all forthcoming. I know what you want to hear, Jethro, but Officer David is not off the hook here. (SFX: DOORS SLIDE OPEN) CUT TO: INT. SQUAD ROOM - DAY (ZIVA MOANS B.G.) TONY: Hey! Will you stop doing that? You're making me nervous. ZIVA: How long can it possibly take? TONY: Well, I don't know, Ziva. It's an autopsy, not an oil change. MCGEE: You know, I don't think we're supposed to be talking about the case with her. ZIVA: It's a simple conversation, you know? What do you have, Ducky? Well, Jethro, this reminds me of the time back at Scotland Yard when I... The point, Ducky? Well, based on my preliminary findings, Ziva did not kll this man. (bat) What? What? (ZIVA BUMPS INTO GIBBS) ZIVA: So? Did you talk to Ducky? GIBBS: Yeah. ZIVA: And? GIBBS: And now I have to go and talk to the director. TONY: Oh. Maybe she really did kll that guy. ZIVA: Hey Gibbs, what did Ducky say?! Gibbs! Hey, are you going to tell me anything, or not? GIBBS: There's nothing to tell yet, Ziva. INT. SHEPARD'S OFFICE - DAY CYNTHIA: (INTO PHONE) Stan, it's Cynthia again. I'm really starting to get worried. Please call me as soon as you get this. GIBBS: Is she in? CYNTHIA: Still not back from lunch, and he's been waiting for a half an hour. GIBBS: He'll survive. CYNTHIA: It's not like her, Agent Gibbs. She's never been late for a meeting. GIBBS: You try her driver? CYNTHIA: Stan's not answering his cell or pager. I've left him four messages. I really don't know what else to do. I've been calling her cell... CUT TO: INT. CAR - MOVING SHEPARD: (INTO PHONE) Agent Gibbs? GIBBS: (V.O./FILTERED) Director?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) We've got a major problem here. SHEPARD: (V.O./FILTERED) Sorry to hear that... (SCENE CUT) SHEPARD: (INTO PHONE) Jethro. I have quite a serious problem myself. (SCENE CUT) GIBBS: (INTO PHONE) I'm pretty sure you want to hear mine first. SHEPARD: (V.O./FILTERED) I'm not entirely... (SCENE CUT) SHEPARD: (INTO PHONE) ... sure that's true. JAMES: (INTO PHONE) You really should be listening to her problem, Jethro. (SCENE CUT) JAMES: (V.O./FILTERED) You're holding my heroin and my little brother. (SCENE CUT) JAMES: (INTO PHONE) If I don't get both back in two hours, she dies. I'll call back with the details. (MUSIC OUT) MUSIC IN: INT. SHEPARD'S OUTER OFFICE CYNTHIA: She called in at eleven forty-five when she arrived at the Whitmore Hotel. According to the Senator's assistant, lunch was over at twelve fifty - ten minutes ahead of schedule. She never checked in again. GIBBS: I need to see her itinerary. CYNTHIA: I can't do that, Agent Gibbs. CUT TO: INT. SHEPARD'S OFFICE - DAY (DOOR OPENS/ CLOSES) CYNTHIA: I'm not trying to be difficult, but the Director's been very clear. Her schedule is confidential. Even to you. GIBBS: Are you done? Director Shepard has been kidnapped. I need to know where she was when it happened. CYNTHIA: Okay. Here's everything. Nine a.m. at the G.A.O. Ten thirty with the A.T.C.C.... GIBBS: And after lunch, a meeting with the B.O.B. CYNTHIA: Uh, that's Congressman Bob Sommers. He's a friend. GIBBS: It doesn't say where she's meeting him. CYNTHIA: I'm not sure. She has the car wait at the hotel. Gets coffee nearby. You think Bob's involved? GIBBS: No. But it'll give me a search radius. Give me a copy of this, will you? CYNTHIA: What else can I do? GIBBS: Keep quiet. CYNTHIA: She's gonna be okay, right? (DOOR OPENS) CUT TO: INT. SQUAD ROOM - DAY ZIVA: If you have a question, ask it. TONY: I'm afraid you'll put the Vulcan death grip on me. ZIVA: I'm considering it. TONY: Where did you learn to do that, anyway? Years of training on a secluded desert island? Blind Master Po always one step ahead of you. "When you take the pebble from my hand, then it will be time..." Oh ho, do that again. Show me. Oh! GIBBS: DiNozzo! TONY: Yeah, Boss. I was just... GIBBS: Shut up. Get over here. James Dempsey has taken Director Shepard hostage. He wants his drugs and his brother back or she dies. We have two hours. Last contact was at the Whitmore Hotel. Driver's not responding, DiNozzo. TONY: On it. GIBBS: Dempsey used the Director's cell phone. MCGEE: I'll start a trace. ZIVA: What about me? This is the Director's schedule. GIBBS: Start making calls. ZIVA: Desk work? Put me in the field. GIBBS: No, not happening. ZIVA: You need me out there. GIBBS: Not happening. I need you at your desk making calls. Go! Hey! Clock's ticking, people! ZIVA: Jenny can take care of herself, Gibbs! She was a good agent. GIBBS: Still is. CUT TO: INT. MTAC - DAY CASSIE: (ON MONITOR) I've been investigating James Dempsey for nine months, Gibbs. Seems like a frat boy on the surface, but the guy's brutal. We've linked him to half a dozen unsolved homicides. But still, kidnapping the Director of NCIS? Takes guts I didn't know he had. GIBBS: He's gonna kll her, Cassie. Nothing to be impressed by. CASSIE: (ON MONITOR) I'm not impressed. I'm worried. GIBBS: Any intel from those squids you busted? CASSIE: (ON MONITOR) They're just mules moving product for the South Africans, didn't even know who they were working for. GIBBS: Get down here. CASSIE: (ON MONITOR) Be there in a couple hours. GIBBS: Hold on! Base Commander has got a chopper waiting. CASSIE: (ON MONITOR) The only thing James Dempsey loves more than money is his baby brother. As long as you've got Brian in custody, James should be easy to manipulate. GIBBS: Brian Dempsey is dad. You still think he'll be easy to manipulate, Cassie? CASSIE: (ON MONITOR) I'm on my way. MUSICAL BRIDGE TO: INT. LAB - DAY ABBY: This is totally disturbing. MCGEE: Yes, it is. ABBY: I mean, who would treat their feet like that? MCGEE: Feet? ABBY: Yeah, look at these soles. You know what that does to somebody's arches? Heel spurs, torn ligaments, not to mention the effect on spinal alignment. MCGEE: Abby, he was a drug dealer. ABBY: McGee, there is no excuse for poor foot care. MCGEE: You wear platforms, and I'm trying to work here. ABBY: Are you still tracking the Director's cell phone? MCGEE: Well, I tracked it to a half a dozen different cell towers. ABBY: He called from a car. MCGEE: Driving down the Three Ninety Five. ABBY: Were there any other calls? MCGEE: Phone was turned off. Probably tossed it. I pinpointed the GPS to its last location. ABBY: Great. Not great? MCGEE: It's a major interchange. He could have taken any of four highways out of there. ABBY: So much for plan "A." GIBBS: Better have a plan "B." ABBY: Gibbs! Are you okay? I was really worried about you because of the Director and all. I know that you guys are really close. Plan "B." I am running samples on Brian Dempsey's clothing and personal effects to Sherlock where he's been hanging out. GIBBS: And? ABBY: And it's going to take some time. Which we don't have, so I'll hurry up now. MCGEE: Uh, I'm working a different angle. Collecting Brian Dempsey's credit cards and phone records. By creating a simple algorithm using his personal data, I constructed a computer model of his buying patterns, juxtaposed with his calling patterns. GIBBS: I don't care. Get it done. MUSICAL BRIDGE TO: EXT. AIRPLANE HANGAR - DAY (DOOR OPENS/ CLOSES) ALEX RUDD: Get out. JAMES: Easy there, Rudd. She's not one of your dates. ALEX RUDD: She wouldn't even be here if your idiot brother didn't get caught. JAMES: I apologize for Alex. He takes some getting used to. Once you get to know him, you'll really learn to hate him. (DOOR OPENS) CUT TO: INT. STORAGE ROOM - DAY (DOOR CLOSES) JAMES: On your knees. Please. SHEPARD: You're wasting your time. JAMES: I'm just trying to make you more comfortable. SHEPARD: I meant taking me hostage. They're never going to negotiate. JAMES: Well, don't sell yourself so short. SHEPARD: They're not allowed to. JAMES: I don't know. Agent Gibbs seems fond of you. Maybe he'll make an exception. SHEPARD: Gibbs thinks of me like a wife. JAMES: See? SHEPARD: He's had three. We busted your brother with five million in pure heroin. Do you think the Navy's just going to give him back? JAMES: Stand up. Now. On the chair. Lean back. I'm sorry about this. (TIES SHEPHARD UP) My brother's always had a way of getting us in trouble. I'm the one who bails us out.(MUSIC OVER DIALOGUE) SHEPARD: You didn't break someone's window with a baseball. You kidnapped the head of a Federal agency. JAMES: Yeah. You got a point. But look on the bright side. This'll be over soon. One way or the other. SHEPARD: Stanley. JAMES: Excuse me? SHEPARD: My driver. JAMES: He's fine. Might be a little uncomfortable. We stuck him in the trunk of your car. See? I'm not a bad guy. I just want the drugs you stole from me and my brother back. CUT TO: INT. SQUAD ROOM - DAY ZIVA: (INTO PHONE) Yes, I know it's confidential information. But... but please don't put me on hold! MCGEE: Are you all right? ZIVA: I'm doing desk work. MCGEE: Could be worse. ZIVA: What part of desk work don't you understand? RECEPTIONIST: (V.O./FILTERED) Agent David, are you there? ZIVA: (INTO PHONE) Yes, hello. Hello, yes. Yes, all I want is - no, no. Don't! MCGEE: I know what you're going through. ZIVA: Really? MCGEE: Mm-hmm. ZIVA: Are you making pointless phone calls and following up dad leads? MCGEE: That's not what I mean. When I sht that cop, I felt like everyone doubted me. But after a while... ZIVA: Are you trying to make me feel better? MCGEE: Is it not working? ZIVA: It's not necessary, McGee. (CHUCKLES) Our only concern should be the Director. MCGEE: You're right. RECEPTIONIST: (V.O./FILTERED) Officer David, Master Sergeant Clay will be with you momentarily. ZIVA: (INTO PHONE) You put me on hold again, and I'll jump through this phone and I will strangle you! RECEPTIONIST: (V.O./FILTERED) Hold please. ZIVA: Hey, McGee! Nobody ever doubted you. MCGEE: Just like those calls you're making aren't pointless. CUT TO: EXT. PARKING STRUCTURE - DAY TONY: We're looking for a black Town Car. KEMPER: You're going to have to be a little more specific. TONY: It's got Federal plates. KEMPER: You've just described half our clientele. TONY: Look, the car belongs to the Director of NCIS. She comes with a driver. She's here twice a week. KEMPER: Director Shepard. TONY: Yeah. KEMPER: Why didn't you say so? TONY: I was trying to be discreet. KEMPER: Is she all right? TONY: She's just peachy. She just left her keys in her car. KEMPER: Here we are. Looks like the door is open. TONY: Hold on! (SFX: TRUNK DOOR POPS OPEN) KEMPER: Is this a crime scene, Agent DiNozzo? TONY: It is now. (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY ZIVA: The Director's driver was taken by surprise then sht in the back of the head. Dempsey then kidnapped the Director and is demanding the return of his drugs, his brother, or she dies. CASSIE: Let's hope we find him before that happens, Officer David. Here's everything I've got on the Dempseys, Gibbs. Nine months of surveillance, wiretaps, buy/busts. Uh... where do I sit? GIBBS: Any of this going to help me find the Director? CASSIE: Probably not. Wish I could tell you I had someone inside his organization. GIBBS: You never flipped an informant? CASSIE: I was hoping to flip his brother. Obviously that's never going to happen. (PHONE RINGS) ZIVA: (INTO PHONE) Officer David. Got it, Tony. (TO GIBBS) Tony's uploading the Whitmore Hotel security footage right now. He's got Dempsey leaving the garage. CASSIE: Dempsey's had less than a day to target the Director. He'll have been sloppy, left a trail. ZIVA: James Dempsey's in the passenger seat. The Director must be in the back. Who's driving? CASSIE: Alex Rudd. Point man for the cartels running drugs through South Africa. The guy's a serious psychopath, Gibbs. I... didn't know he was in the country. But I know fifty places he usually likes to hang out. I'll start knocking down doors. GIBBS: No, I need you here. Get somebody else to do it. ZIVA: I'll start doing s-- GIBBS: No, you're not going anywhere. You sit down. Run a BOLO on that car. CASSIE: We'll get her back, Gibbs. (CASSIE WALKS O.S.) ZIVA: You think she's already dad. CASSIE: I think... today's a real bad day to be the Director of NCIS, Officer David. MUSICAL BRIDGE TO: INT. STORAGE ROOM - DAY SHEPARD: That's a nice plane out there. G Three, right? JAMES: I wouldn't know. SHEPARD: Range, forty-one hundred nautical miles, unless you risk refueling. But you don't look like the European type to me. I'm thinking more Mexico or the Caribbean. JAMES: Yeah, Mexico would be great. My baby brother's always wanted to see Cabo. SHEPARD: Maybe you can take him there... in thirty to forty years. (DOOR OPENS) ALEX RUDD: Where's your pilot, Dempsey? JAMES: I told you. He's on his way. ALEX RUDD: What the hell? You've got her in full view of the window, mate! SHEPARD: I tried to tell him. JAMES: No one's gonna see her. SHEPARD: That's a dangerous assumption. Who knows how many people saw you stuff me into the back of your car. You kidnapped the head of a Federal agency. They take that very seriously. ALEX RUDD: Look, I know you're tight with your brother, mate, but you are not thinking! JAMES: She's just messing with you. ALEX RUDD: Well, she's doing a good job of it. How exactly do you see this thing working out? We should've just sht her like her damn driver. JAMES: I gave NCIS two hours. We've only got fifty eight minutes left. Just relax. ALEX RUDD: We're gone as soon as your fly-boy shows up. JAMES: We're not leaving without my brother. ALEX RUDD: It's your brother who screwed up! Now I've got to explain to my bosses how you lost our product and you don't have the money to pay for it. JAMES: I'm getting it back! ALEX RUDD: Yeah? Good luck with that because I'm not sticking around to find out. (DOOR OPENS/ CLOSES) SHEPARD: Looks like you have a difficult decision, James. It's either him or your brother. (SFX: JAMES KICKS THE CONTAINER) CUT TO: INT. LAB - DAY (SFX: DOORS SLIDE OPEN) DUCKY: I trust you remembered my tea this time, Mister Palmer. ZIVA: It's only me, Ducky. And I'm empty-handed. DUCKY: Uh... well, the coffee stand is unable to master the art of brewing a decent cup of Earl Grey. ZIVA: Those are from Brian Dempsey? DUCKY: Yeah. I cannot discuss it with you, my dear. I don't mean to be rude. ZIVA: Oh, I understand, Ducky. DUCKY: And you probably shouldn't be down here. ZIVA: I shouldn't be here. I shouldn't be in the field. Can you please, please tell me where I should be? DUCKY: Well, I can understand your feelings of alienation. ZIVA: Everyone's avoiding me! Do they think I'm going to lose control, just enter the building and mssacre everyone? I mean, I'm being treated like a leopard. DUCKY: I believe the phrase is "like a leper." Look. Look, Ziva, you mustn't start blaming yourself. ZIVA: I don't. I know where I ht Brian Dempsey. I know how severely I ht him. And Ducky, I know... I know I didn't kll him. DUCKY: Then why are you here? ZIVA: Because... I need for you to tell Gibbs that. GIBBS: Tell me what, Ziva? ZIVA: That the BOLO came back on the car the Director was kidnapped in. It was abandoned three miles from the hotel. It's in route to NCIS. It should be here... GIBBS: Go back to your desk. ZIVA: I am of no use chained to a computer, Gibbs. I should be out looking for her. I... GIBBS: It wasn't a suggestion, Officer David. (ZIVA WALKS AWAY) ZIVA: I... GIBBS: I don't care. (ZIVA WALKS O.S.) DUCKY: Don't you think you're being a bit hard on her? GIBBS: Not the time to hold hands, Ducky. DUCKY: Even though you feel she's blameless? GIBBS: Do you have anything to back that up? DUCKY: I found blood on Mister Dempsey's brain tissue. He may have died of an intracranial hemorrhage. GIBBS: May have? DUCKY: Yes, well I sent the tissue up for a full neural report. If that turns out to be the case, the hemorrhaging could be the result of a pre-existing condition. GIBBS: Or a well-placed strike to the jugular. DUCKY: Yeah. At this point, Jethro, the truth is anybody's guess. CUT TO: INT. LAB - DAY MCGEE: I thought you didn't believe in voodoo. ABBY: This isn't voodoo, McGee. It's tarot. The ancient art of divination. MCGEE: So you're using tarot cards to find the Director? ABBY: Of course, not. It just helps me think. MCGEE: We have less than an hour, so uh... I mean, you could be working. ABBY: I am identifying the mystery goo from Brian Dempsey's sneaker. And don't forget the old saying, "A watched G.C. mask..." TONY: Never boils. ABBY: Well, I was going to say never compares well to the concentration of atomic mass, but where's my Caff-Pow? TONY: We're sort of in a time crunch here, Abs. You're going to have to do this one caffeine free. ABBY: Bite your tongue! Rule number nine, always keep a spare. TONY: I thought Gibbs said nine was always carry a Knfe? ABBY: Not Gibbs' rules. Mine. TONY: Hmm. I got the physical evidence from the Director's Town Car. Cigarette butts, empty coffee cup, and a half-sucked breath mint. Nothing that gets us any closer to James Dempsey's location. Ah! Tarot. The ancient art of divination. MCGEE: Guys, I've got something. I've got something here. I've plotted on the map the locations where Brian Dempsey made credit card purchases in the last six months. Its gas, ATM withdrawals, motel rooms - everything. Then I cross referenced the cell towers that his phone interfaced with. I can literally map out his life. TONY: Strip clubs, escort services, off track betting. The guy had so much to live for. MCGEE: According to my program, Brian Dempsey spent the majority of his time in this fifty square mile area. TONY: And this helps us find the Director how? MCGEE: It helps us narrow down the search radius. TONY: Do you have any idea how long it takes to search fifty square miles, McGee? Too long. CUT TO: INT. STORAGE ROOM - DAY SHEPARD: His name was Stanley. The man you mrder in the parking garage, James. JAMES: I didn't kll your driver. I tried to stop it. SHEPARD: Good. Then you still have a chance of getting out of it. It's more than I can say for your boss out there. JAMES: He's not my boss. He's a business partner. SHEPARD: Well, I'd keep an eye on your business partner if I were you. JAMES: Yeah? Why's that? (SFX: ENGINE B.G.) SHEPARD: Because it sounds like he's about to take off without you. CUT TO: INT. HANGAR - DAY JAMES: What are you doing?! ALEX RUDD: The pilot's here. We're leaving. JAMES: I'm about to make the call. ALEX RUDD: You really think the Feds are going to negotiate with you, mate? JAMES: Yeah, I do. ALEX RUDD: Then you're even dumber than your kid brother. JAMES: They'll bring him and our drugs if they want to see their Director alive again! ALEX RUDD: That's what's holding you back, huh? Easy to fix. CUT TO: INT. STORAGE ROOM - DAY (MUSIC OVER ACTION) (SFX: gn) JAMES: I just sht him to get my brother back. What do you think I'll do to you? CUT TO: INT. SQUAD ROOM - DAY TONY: Tick tock, McGee. CASSIE: James Dempsey should be calling any second. ZIVA: Tactical's pre-positioned in the search grid. MCGEE: Okay, trace program's almost ready. Just need another computer for back-up. Ooh, Ziva. You're not using this, are you? ZIVA: I'm being wasted here. You'll need me when James Dempsey finds out his brother's dad. GIBBS: We don't need the brother. Once we have a location, we take him out. ZIVA: All the more reason why I should be -- (PHONE RINGS) MCGEE: Okay, we're connected. Trace starts when you pick up, Boss. GIBBS: (INTO PHONE) Yeah, Gibbs. JAMES: (V.O./FILTERED) Listen carefully.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) JAMES: (INTO PHONE) One car, one agent in the back. (SCENE CUT) GIBBS: (INTO PHONE) Put Director Shepard on. JAMES: (V.O./FILTERED) You're wasting... (SCENE CUT) JAMES: (INTO PHONE) ... Time, Agent Gibbs. Time you don't have. GIBBS: (V.O./FILTERED) Put her on... (SCENE CUT) GIBBS: (INTO PHONE) .... Or the deal's off. (SCENE CUT) JAMES: (INTO PHONE) He wants to know if you're still alive. Play nice and you'll stay that way. SHEPARD: (INTO PHONE) I'm fine, Jethro. (SCENE CUT) SHEPARD: (V.O./FILTERED) Wish I had my coat! JAMES: (V.O./FILTERED) Enough! One car. One agent in the back. (SCENE CUT) JAMES: (INTO PHONE) Drugs in the trunk. Brian drives. (SCENE CUT) JAMES: (V.O./FILTERED) See you in forty-five minutes. (SCENE CUT) GIBBS: (V.O./FILTERED) Where are we driving? JAMES: (INTO PHONE) Leave that to my brother. He knows where. (SCENE CUT) JAMES: (V.O./FILTERED) Don't be late. (END TELEPHONE INTERCUTS) (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY MCGEE: Boss, Dempsey made the call over a V.O.I.P. system. That's voice-over internet protocol. It's a wireless signal converted to analog. GIBBS: How long to trace it, McGee? MCGEE: Three hours, maybe two if we're lucky. TONY: He said forty five minutes, Probie. GIBBS: Find another way! CASSIE: How, Gibbs? The only person who knows where they are is lying dad in autopsy. Did Brian Dempsey say anything to you before you klled him? I mean, before he collapsed and died while in your custody? ZIVA: I told you once, I did not kll that man. So stop making accusations that you can't -- GIBBS: Hey! She said she wanted her coat. CASSIE: Is she trying to tell us something? MCGEE: Maybe she's cold. Someplace cold. ZIVA: Perhaps she left something in her coat? (INTERCUT FLASHBACK SCENES) GIBBS: She left it on the plane. She's at an airport! TONY: How do you know she's at an air -- (PHONE RINGS) TONY: Of course. She's at an airport. MCGEE: Pulling up every airport forty five minute drive from here. (PHONE RINGS) GIBBS: (INTO PHONE) Gibbs. CASSIE: There's got to be at least a dozen.(ABBY FILTERED B.G.) TONY: We'll never have time to sweep them all. GIBBS: Maybe we won't have to. DiNozzo, McGee, with me. TONY: On your six, Boss. CUT TO: INT. LAB - DAY ABBY: I got the results back from Brian Dempsey's shoe goo. It's a smorgasbord of Juicy Fruit, chewing tobacco, dog poo... GIBBS: What's the point, Abby? ABBY: There are also trace elements of diolane and hexylene glycol. It's fre suppression foam. So I'm thinking - a manufacturing plant or a firehouse. GIBBS: Abby, they're at an airport! ABBY: Or an airport. Because they use it on the runway for emergency landings. MCGEE: You remember a few weeks ago there was a commuter plane with faulty landing gear? TONY: Yeah, we watched it for hours on ZNN waiting to see if it was going to crash and burn. MCGEE: He was diverted to a small airfield... GIBBS: Which one, McGee? (SFX: COMPUTER BEEP TONES) MCGEE: It's Potomac Air - Potomac Airport. CASSIE: We've got the airport layout, Gibbs. I recommend we seal it off, go through building by building with tactical asault. ZIVA: It's an airfield. Do you expect to sneak up on him? CASSIE: We don't exactly have a choice here. Maybe if his brother wasn't-- ZIVA: Wasn't dad? Yes, I think we've established that. Thank you. GIBBS: David's right. We go in small. Cassie, McGee, you two find out what building they're holding the Director in. MCGEE: How? GIBBS: I don't care, McGee. Trace the call. Find out what planes are scheduled to take off. Just find it! MCGEE: On it. GIBBS: Hey! Hey! Come on! TONY: Uh... one problem, Boss. He's expecting his brother to drive. GIBBS: Well, then we give him what he wants. Give him his brother. CUT TO: INT. STORAGE ROOM - DAY JAMES: Well I guess I should thank you. SHEPARD: For what? JAMES: For him. Friends are important, but in the end, family's all we really have. Alex never understood that. You did me a favor. SHEPARD: Well, let me do you another one. You're a smart guy, James. You know, this isn't going to end well. They are going to kll you, maybe even your brother. Are you willing to risk Brian's life? JAMES: Well, that all depends. Is NCIS willing to risk yours? You try something like that with me again, I will send you back in little pieces. MUSICAL BRIDGE TO: EXT. TARMAC - DAY TONY: This is the second stupidest thing I've ever done. Want to know what the first was? GIBBS: No. Less talking. TONY: Ah, right. We should just tape the dad guy's hands to the steering wheel. On it, Boss. Here we go. It's showtime, Bernie. ZIVA: Three and eleven. TONY: Two and ten. And that explains a lot. Okay, all right. I need you to hold his head up here, all right? ZIVA: Okay. GIBBS: (INTO PHONE) McGee? MCGEE: (V.O./FILTERED) Yeah, Boss. GIBBS: (INTO PHONE) We're at the airport. Got my location yet? MCGEE: (V.O./FILTERED) I'm still working on the trace, Boss. CUT TO: INT. LAB - DAY MCGEE: We've localized the DNS servers. ABBY: Having a little bit of trouble matching the computer's profiles and subnets. GIBBS: (V.O./FILTERED) Cassie! What about you? CASSIE: (INTO PHONE) I need every scheduled flight. No, today's flight plans! MCGEE: Uh, Boss, she's still working on the flight plans. CUT TO: EXT. TARMAC - DAY GIBBS: (INTO PHONE) Work faster! TONY: They never had this much trouble with Bernie. ZIVA: Who the hell is Bernie? TONY: Weekend At Bernie's! A cinematic masterpiece. It's a, you know, blend of the comedic and the macabre - thumbs down from the Boss man. (GIBBS HITS TONY) GIBBS: (INTO PHONE) We're out of time. CASSIE: (V.O./FILTERED) Gibbs. CUT TO: INT. LAB - DAY CASSIE: The only non-commercial aircraft cleared to leave Potomac is from... ABBY: Hangar number three! CUT TO: EXT. TARMAC - DAY MCGEE: (V.O./FILTERED) We're sending out the coordinates. TONY: Are you sure this isn't the stupidest thing you've ever done, DiNozzo? TONY: We're ready to go. CUT TO: INT. STORAGE ROOM - DAY JAMES: Time's up! You were right. Looks like your people don't care about you after all. SHEPARD: I told you. NCIS does not negotiate with criminals, James. JAMES: Well, you'd better hope they're willing to make an exception for you. CUT TO: INT. CAR - MOVING ZIVA: Are you trying to make me sick or something, Tony?(SFX: CAR DRIVING IN SPURTS B.G.) TONY: You know what? I can't see out the windshield. I'm driving with my hands. And I still think I'm driving better than you. ZIVA: To the left! The other left! TONY: It's kind of hard to concentrate when your head is three inches from a dad guy's -- ZIVA: (SHOUTS) Look out! TONY: Which way!? Which way?! ZIVA: You're driving straight into an airplane hangar. TONY: Could you be a little more specific, please? Which way? ZIVA: Make a left! Now go straight. Tony, straight! CUT TO: INT. STORAGE ROOM - DAY JAMES: Looks like your people came through for you after all. SHEPARD: So you're home free. JAMES: I'm not stupid. I know they'll have people following. But in five minutes, I'll be twenty thousand feet over the Atlantic. Get up! CUT TO: EXT. TARMAC - DAY TONY: You see him? ZIVA: Not yet. TONY: Just remember, Gibbs doesn't want you taking a sht until the Director is clear. CUT TO: INT. HANGAR - DAY JAMES: (SHOUTS) You! Out of the car! Hands on your head! Cuff yourself. Hands behind your back. I said cuff yourself! Now lie down. Very clever. Brian, get the drugs and take them on the plane! They're right behind you. Get the damn drugs, Brian! Brian! They klled him. You klled my baby brother!(DOOR OPENS/ CLOSES) (SFX: gn) ZIVA: It's actually a pretty interesting story. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY (B.G. - What's that? It's the report....) (SFX: DOORS SLIDE OPEN) SHEPARD: I'm fine, Jethro. Really. It's a probie mistake. I should've known better. Never should have let my guard down. How many times have we said that? Stanley was a hell of an agent. He didn't deserve this. And I know what you're going to say. I'm the Director now. It comes with the territory. But I hope to God I never get used to it. (SIGHS) Are you ever going to say anything? GIBBS: Have a drink. DUCKY: I have the results of Brian Dempsey's neuropath report. The hemorrhaging was caused by a congenital defect in the subarachnoid artery. SHEPARD: He died of a brain aneurism? DUCKY: Present since birth. The young man was a walking time bmb. GIBBS: Every time b*mb has a trigger, Duck. DUCKY: Well, anything could have precipitated his death. A cough, a sneeze... GIBBS: A blow to the throat? SHEPARD: Sounds like natural causes to me. DUCKY: Exactly the way I ruled it. (MUSIC UP AND OUT) (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x22 - Jeopardy"}	foreverdreaming
MUSIC IN: EXT. PORTSMOUTH DOCK - NIGHT (MUSIC OVER ACTION) (VOICES B.G.) TONY: (V.O.) This is so Usual Suspects! CUT TO: INT. PARKED CAR - NIGHT ZIVA: Tony, your dying words will be "I've seen this film." TONY: Gibbs even looks a little bit like Gabriel Byrne. ZIVA: Okay. Who is Gabriel Byrne? TONY: An actor who boards a mysterious ship like this one searching for Keyser Sose. ZIVA: Another actor? TONY: No. Keyser Sose is a character in the film who may or may not exist. ZIVA: I'm confused. MCGEE: So am I. And I saw the DVD twice. TONY: The Sound of Music confuses you, Probie. ZIVA: I love that movie! (SFX: ZIVA BEGINS TO SING) TONY: One note and I will lock you in a room and make you listen to "It's a Small World" for twenty-four hours straight! Do we understand each other? ZIVA: (MUFFLED) Mm-hmm. CRUZ: (V.O.) Okay, next! CUT TO: INT. CREW MESS - NIGHT (SFX: KEYBOARDING B.G.) MAHIR: Is something out of order? CRUZ: We have no record of Abog Galib ever entering the United States. MAHIR: So? GIBBS: His passport has Philadelphia entry and exit stamps. June of last year. MAHIR: Computer glitch? GIBBS: Or a forged passport. CRUZ: Hey!(MUSIC OVER ACTION/GALIB RUNS) (SFX: SHOUTING B.G.) (GIBBS CHASES GALIB THROUGH THE SHIP) CUT TO: INT. CREW LAUNDRY - DAY GIBBS: Hell, I thought we were going to do this without a chase. GALIB: I could not be arrested, Agent... GIBBS: Gibbs. GALIB: I had to speak to you alone. The situation has changed. The head of Abu Saif wants me to courier for him between Basilan and Pakistan. GIBBS: Bin Laden? GALIB: Allah be willing. Oh, sorry if I made you run. GIBBS: Oh, I'd chase you to hell if it lead to Bin Laden. GALIB: You only have to chase me off the ship. GIBBS: Has Abu infiltrated SeaLift? GALIB: They are about to. Our radio man, Pinpin Pula, is Abu Saif. Somehow, he got a billet on the Cape Fear. GIBBS: The Cape Fear's a SeaLift munitions transport. GALIB: She sails tomorrow to replenish Marine Expeditionary Strike Force Eight in the Red Sea. GIBBS: He plans to blow the Cape Fear when it's off-loading amo to an asault ship. This will be as bad as Nine Eleven. GALIB: And just as terrifying. GIBBS: Galib, that's good work. GALIB: I will go off the stern. fre a couple of rounds. Just do not ht me. Oh, my passport? GIBBS: I'll alert my team. Don't want them to sh*t you.(SFX: FAINT VOICES B.G.) GALIB: Wait! Wait! CUT TO: INT. PARKED CAR - NIGHT TONY: He looks from the broken coffee cup on the floor. He looks to the photo on the wall. Looks... (SFX: HUGE explsin ON SHIP B.G.) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. HOSPITAL CORRIDOR - NIGHT "HIATUS (PART I)" (MUSIC OVER ACTION/GURNEY WHEELS DOWN THE CORRIDOR) (INTERCUT DESERT STORM FLASHBACK SCENES) (SFX: MUFFLED VOICES B.G.) TOLLIVER: What do we got? PARAMEDIC: Blast victim. Superficial burns and abrasions. Pressure steady. TOLLIVER: Got a name? PARAMEDIC: Gibbs. He's a NCIS agent. TOLLIVER: All right, my count on three. One, two, three! Agent Gibbs! CUT TO: INT. MASH UNIT - DAY GELFAND: (MUFFLED) gn! gn! gn! Get him out of his gear! Let's go! CUT TO: INT. TRAUMA BAY - DAY TOLLIVER: G-C-S is less than eight. Let's intubate. Twenty milligrams of etomidate. A hundred of succinylcholine. NURSE: Right away. TOLLIVER: Skip the X-ray. Go straight to Cat Scan. NURSE: (V.O.) Call C-T. TOLLIVER: Come on, baby. CUT TO: EXT. DOCK - NIGHT DUCKY: Ziva, what happened? ZIVA: A bmb. One dad, one injured. You'll need body suits, tweezers and those um... suction things. DUCKY: Turkey basters. ZIVA: And many, many, many specimen jars. DUCKY: Do you hear that, Mister Palmer? JIMMY: Yes, Doctor. DUCKY: Here, allow me. ZIVA: (IN HEBREW) Toda. DUCKY: How badly is Jethro injured? ZIVA: Paramedics took him to emergency. DUCKY: Which hospital? Portsmouth? They have a level one trauma center at Portsmouth. ZIVA: I didn't ask. DUCKY: You didn't ask?! ZIVA: No, once the paramedics were on site, I had other priorities. The possibility of more bmb, a crew to detain, a crime scene to secure... DUCKY: Well, McGee and Tony will know. (bat) Oh Ziva, I'm not implying that you don't care. Listen, I know you care! ZIVA: I don't need reassurances, Doctor! DUCKY: Very well. But I just want you to know that I know-- ZIVA: Ducky, drip it! DUCKY: Do you mean drop it or zip it? ZIVA: Ah, American idioms drive me up the hall. DUCKY: Well, actually, never mind. CUT TO: INT. PASSAGEWAY - NIGHT CRUZ: One of the crew is missing. The radio man, Pinpin Pula. TONY: Put out a BOLO. DUCKY: Tony, any word on Jethro? TONY: Not yet. Portsmouth Trauma said to call back in an hour. DUCKY: Portsmouth. Good, good. CRUZ: I'll get out that BOLO. ZIVA: Do we have a suspect? TONY: Pinpin Pula. What kind of name is Pinpin? DUCKY: Filipino. In Tagalog it means "rice paddy dike." ZIVA: Don't say a word. DUCKY: I thought that was quite an accurate translation. CUT TO: INT. WAITING ROOM - NIGHT SHEPARD: Condition of Special Agent Jethro Gibbs. WASHINGTON: Trauma One. No condition listed yet. You can't go in there, Director. It's restricted.... to medical personnel. SHEPARD: This isn't about turf, you know. WASHINGTON: Oh, I know that. It's about rules. And one really big one is, non-medical people cannot enter Trauma One....unless they're carried in. SHEPARD: Get me a gurney. WASHINGTON: (LAUGHS) That's good. Get me a gurney! Ha ha! I like that. SHEPARD: I left a dinner at the White House to come here. WASHINGTON: I'm impressed. Really, I am. That still doesn't change the rules. SHEPARD: I was hoping I wouldn't have to resort to this. WASHINGTON: sh*ting your way in? SHEPARD: Don't be silly. I don't have my wapon. WASHINGTON: Calling the President? SHEPARD: Now that would be overkill. RICE: (V.O./FILTERED) Hello? SHEPARD: (INTO PHONE) Condi? Jenny. RICE: (V.O./FILTERED) Any word yet? SHEPARD: (INTO PHONE) No. I don't have his condition yet. RICE: (V.O./FILTERED) Well, why not? SHEPARD: (INTO PHONE) The head nurse won't let me in to Trauma. RICE: (V.O./FILTERED) Let me speak with her. WASHINGTON: (INTO PHONE) Ethel Washington, Ma'am. (SFX: FILTERED VOICE B.G.) RICE: (V.O./FILTERED) Condoleeza Rice. WASHINGTON: (INTO PHONE) Yes, Ma'am. I understand. SHEPARD: (INTO PHONE) Thank you, Condi. (SFX: DOOR BUZZ) (DOOR OPENS) ABBY: ABBY: McGee said that Gibbs was in a bmb blast! He tried to sound really calm, but I could hear the fear in his voice. And he should be afraid! For Gibbs to be brought to a hospital in an ambulance, it cannot be good! I had to come see for myself. And my hearse got a flat - as usual - so I got in a cab to go the airport, and then I realized that by the time I got to the terminal, and I bought a ticket, and I went through security, and then I flew to Norfolk, and I got a cab here, it would be better just to sit in the cab that I was in. So I did that. It cost a lot of... you know, it doesn't matter what it cost because this is Gibbs we're talking about! I can't believe that he's hurt! He is never hurt. Not hurt enough to go to a hospital. He has to be dying to even go see a doctor! Oh, my god! He isn't dying, is he? I don't know what I would do! Positive thoughts. Positive thoughts. Positive thoughts. (CONT.) Okay, I know the rule is that you have to be family to go into Emergency, at least that's what they said when Uncle Charlie got his leg caught in a nutria trap. But Gibbs and me, we're tighter than blood! I know you need I.D. I have an I.D. in here. I work at NCIS. Forensics, and uh... ballistics, chemical analysis, and DNA typing. Uh... here. That's me. I promise. I just - I had to be in court that day. But I swear, that is me! (SFX: DOOR BUZZ) ABBY: You're a really, really good person. CUT TO: INT. PASSAGEWAY - NIGHT ZIVA: You're going to have to look in there sooner or later, McGee. MCGEE: I already did. ZIVA: Uh-huh. MCGEE: Ziva, I don't think I can go in there. ZIVA: McGee! MCGEE: I know. ZIVA: Don't let Tony smell fear or else he'll just-- TONY: Probie! I've got a special job for you. ZIVA: Too late! TONY: bmb dog took point on Rice Paddy Dike's foot locker. Tag and stow it in the truck for Abby, would you? MCGEE: On it, Boss. TONY: I do love it when he calls me Boss. ZIVA: Is that why you're being nice to him? TONY: Nice?! I'm not being nice. Lugging foot lockers is probie work. All right, I cut the probie some slack. It's a bad day. ZIVA: Yes. A very bad day. TONY: What's the point of origin? ZIVA: A fifty five gallon oil drum. That twisted ring is all that's left of it. What is an oil drum doing in the laundry compartment? TONY: Ships clean and reuse them for storage. This one probably held dirty laundry. ZIVA: Very unsanitary. Fragments indicate a high explsive. Abby should be able to trace the taggant. TONY: Why's his head and torso intact when the rest of him's a slushie? ZIVA: su1c1de bmb wearing an explsive belt look like this. Except there's always something left of their lower extremities. You see a foot? TONY: Not even a tootsie. ZIVA: A tootsie? DUCKY: A toe. Although in my generation, tootsie also referred to one's sweetie pie. ZIVA: Sweetie pie? TONY: Any word from the hospital? DUCKY: Jethro's critical, but sab. Then... he wasn't in here when the bmb detonated, was he? TONY: That corner. DUCKY: How did he survive? ZIVA: The washer and dryer shielded him from the main force of the blast. (SFX: RAINFALL) ZIVA: It's raining. CUT TO: INT. CORRIDOR - DAY (DOORS OPEN) TOLLIVER: He's suffered a concussion but there are no signs of intra-cerebral hemorrhaging. ABBY: He's going to be okay, though, right? TOLLIVER: He should be fine. ABBY: I don't want to hear should be! I want to hear will be! SHEPARD: Abby. ABBY: Should be is not positive. SHEPARD: Enough, Abs. CUT TO: INT. ICU ROOM - NIGHT TOLLIVER: I want to see what's under the hood. Hold the sedation. And call me when he wakes. NURSE: Mm-hmm. TOLLIVER: I'm always positive, Ms. Sciuto. But with a concussion, until... until he wakes, no one knows what's going on inside his brain. CUT TO: EXT. HOUSE - FLASHBACK KELLY: I'll miss you, Daddy. GIBBS: We've said it all before. SHANNON: I want to hear it again. GIBBS: I will take care. I will come back safe. SHANNON: Not those words. GIBBS: I love you. (MUSIC UP AND OUT) FADE IN: INT. ICU ROOM - DAY (SFX: BEEP TONES B.G.) (PHONE RINGS) SHEPARD: (INTO PHONE) Shepard. (BEGIN TELEPHONE INTERCUTS) TONY: (INTO PHONE) Yikes! Agent DiNozzo here. Cynthia told me you stayed at the hospital. Is the boss awake? (SCENE CUT) SHEPARD: (INTO PHONE) I am, Agent DiNozzo. You have a sit-rep for me? (SCENE CUT) TONY: (INTO PHONE) I do, Director Shepard. Crime scene's been processed. Evidence tagged. Remains are on their way to autopsy. Officer David and Special Agent McGee are questioning the crew. (SCENE CUT) TONY: (V.O./FILTERED) We have an I.D. on the suspected bmb. The freighter's radioman, Pinpin Pula. Filipino. (SCENE CUT) TONY: (INTO PHONE) Suspected to be Abu Saif. BOLO's been issued for his apprehension. That is all I have to report, Ma'am. (SCENE CUT) SHEPARD: (INTO PHONE) Agent DiNozzo. TONY: (V.O./FILTERED) Director? SHEPARD: (INTO PHONE) I was out of line. (SCENE CUT) TONY: (INTO PHONE) You are the Director, Ma'am. You cannot be out of line. SHEPARD: (V.O./FILTERED) Please. (SCENE CUT) SHEPARD: (INTO PHONE) I was bitchy. Let me apologize. I'm sorry. TONY: (V.O./FILTERED) If I may state an opinion, Ma'am. SHEPARD: (INTO PHONE) fre away. (SCENE CUT) TONY: (INTO PHONE) Never apologize. It's a... (SCENE CUT) SHEPARD: (INTO PHONE) ... Sign of weakness. TONY: (V.O./FILTERED) Sign of weakness. SHEPARD: (INTO PHONE) I was his partner, too, DiNozzo. I know all the "Gibbs-isms." (SCENE CUT) TONY: (INTO PHONE) Actually, he borrowed that one from the Duke. (SCENE CUT) SHEPARD: John Wayne. (SCENE CUT) TONY: (INTO PHONE) Said it to Joanne Dru in She Wore a Yellow Ribbon. (SCENE CUT) SHEPARD: (INTO PHONE) Jethro's a lot like the Duke. TONY: (V.O./FILTERED) I keep waiting for him to say... (SCENE CUT) TONY: (INTO PHONE) That'll be the day. (SCENE CUT) SHEPARD: (INTO PHONE) He said that in Paris to me once when I told him that ... (LONG bat) when we were working together. (SCENE CUT) TONY: (INTO PHONE) Shouldn't he be awake by now? (SCENE CUT) SHEPARD: (INTO PHONE) You know Gibbs. He keeps his own schedule. Do you know what REM is? (SCENE CUT) TONY: (INTO PHONE) Sure. Rapid eye movement. It happens when you're asleep and dreaming. (SCENE CUT) SHEPARD: (INTO PHONE) That's what it looks like he's doing right now. TONY: (V.O./FILTERED) Oh, well that's got to be a good sign, right? SHEPARD: (INTO PHONE) If it isn't a nightmare. (END TELEPHONE INTERCUTS) MUSICAL BRIDGE TO: EXT. DESERT - FLASHBACK (MUSIC OVER MONTAGE OF FLASHBACK SCENES) (SFX: gn) gn'S C.O.: gn, they're both dad. I'm terribly sorry, Jethro. GIBBS: (SHOUTS) No! CUT TO: INT. OFFICER'S MESS - DAY MAHIR: How many times are you going to ask me the same question? ZIVA: No smoking. MAHIR: (IN TURKISH) Bitch! MCGEE: What'd he say? ZIVA: (IN TURKISH) Want to see this bitch take that cigar to your testicles? (MAHIR CHUCKLES) MCGEE: What'd you say? ZIVA: That I understood him. MAHIR: At least let my crew go ashore. They have been at sea for two months. ZIVA: (LAUGHS) Excuse me. You don't appear to be the kind of Captain who actually cares about the welfare of his crew. MAHIR: That's it! I want to speak to Turkish consulate! CRUZ: I can arrange that. MAHIR: Yes! CRUZ: If... if NCIS agrees. TONY: We do not. (SFX: CHAIR BANGS INTO THE WALL) TONY: Learn anything, Ziva? ZIVA: Captain Mahir knows more than he's telling. MAHIR: I know nothing. TONY: That's very Sergeant Schultz. MCGEE: Tony, how's the Boss? TONY: (AS SCHULTZ) I know nothing! MCGEE: That's not funny, Tony. TONY: McGee, it's the boss. He'll be fine. With me! (TONY WALKS O.S.) ZIVA: He'll be living off coffee next. MCGEE: Tony doesn't like coffee. (SFX: MAHIR SHOUTS) TONY: (V.O.) Why do you suspect the Captain? CUT TO: EXT. DECK - DAY ZIVA: He smokes expensive Havanas and wears a ten karat diamond. TONY: Could be zircon. ZIVA: Never doubt an Israeli about diamonds. Our Turk Captain likes money, the kind Abu Saif pays to transport wapon, explsives and trrorists. TONY: I'll flip you to see which of us takes the Captain in, and who visits Gibbs. ZIVA: I'll take him in. You don't speak Turkish. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Your observations, Mister Palmer. JIMMY: Well, fingerprints are out of the question. DUCKY: I was rather hoping for something other than the obvious. JIMMY: Well, we'll have to use DNA to... I guess that's rather obvious, too. DUCKY: Uh-huh. JIMMY: Uh... he was standing on the bmb. DUCKY: Better. Why standing? JIMMY: Well, it seems to be the only way to explain his entire lower body being vaporized. DUCKY: Why not sitting? JIMMY: Uh... whatever he was sitting on would have shielded his butt. DUCKY: Unless his buttocks was sitting on the bmb. JIMMY: Who would sit on an explsive? DUCKY: Someone who didn't know they were sitting on the explsive. JIMMY: Of course. DUCKY: I did it myself once. No twice. The first time I was young. The second time, foolish. JIMMY: Why were you sitting on an explsive, Doctor? DUCKY: I just told you I was young and foolish. Haven't you been listening? JIMMY: I was. I just... DUCKY: Specimen jar! Come on. If I'm not mistaken, Abby will find these to be fragments of the fifty-five gallon oil drum. I must ask Jethro... JIMMY: Should I take these to Abby now, Doctor? DUCKY: Soon as I've taken a tissue sample for DNA confirmation. JIMMY: Is that really necessary, Sir? DUCKY: No! No, it is not necessary! We could match his teeth! Is that what you'd prefer? (PAUSE) A wise choice, Mister Palmer. MUSICAL BRIDGE TO: INT. ICU ROOM - DAY TONY: Coffee. SHEPARD: Coffee? TONY: Sure way to wake Gibbs. SHEPARD: Good idea. But, he's intubated. We'll have to use the IV. TOLLIVER: Uh, tell Miss Sciuto that I didn't abandon Gibbs. Chief Neurologist would have been here today anyway. SHEPARD: I'm sure she'll understand. TOLLIVER: I hope so. I like women with fre. TONY: Ah. So the dog collar and the tats had nothing to do with it? (TOLLIVER WALKS O.S.) SHEPARD: DiNozzo, does he look in pain? TONY: I don't know. I've never seen Gibbs show pain, Director. SHEPARD: Doctor, is he in pain? Doctor? GELFAND: Was this man a Marine? SHEPARD: Yes. GELFAND: Wounded in Desert Storm? SHEPARD: He has a Purple Heart. GELFAND: That's it! I treated him in Kuwait! TONY: Gibbs never told me he was wounded in Desert Storm. SHEPARD: Me either. I saw his Purple Heart. GELFAND: He was in a coma when we evaced him to Frankfurt. Now you talk about déja vu. SHEPARD: But is he in pain? GELFAND: Certainly not extreme pain. He may hurting, but the only way to know is for him to tell us. TONY: Why not give him painkillers just in case? GELFAND: I want him to wake up. An opiate would only deepen his coma. SHEPARD: I've just never seen Jethro look like this. GELFAND: I have. That's why I remembered him. That's the expression he had in ninety-one. It's more anguish than pain. CUT TO: EXT. CEMETERY - DAY (MONTAGE OF FLASHBACK SCENES) KELLY: I want to gallop, Daddy! SHANNON: No, Kelly. GIBBS: Ah, let her go, Shannon. SHANNON: Jethro... (MUSIC UP AND OUT) MUSIC IN: INT. MTAC ROOM - DAY TONY: (INTO PHONE) I've got a better chance of hooking up with Jessica Alba than these guys do of infiltrating SeaLift. Every sailor has to go through a series of stringent security checks to be issued a special ID. STEVENS: (ON MONITOR) A hundred and ten civilian crews, DiNozzo. Abu Saif only needs to slip a man in one. TONY: (INTO PHONE) If Galib knew who that was or the name of the ship, why'd he run? Why didn't he just let us arrest him as planned? Give us the intel and then continue undercover to Gitmo. STEVENS: (ON MONITOR) Either he didn't know, but was close to finding out. Or he was on to something big that an NCIS arrest would jeopardize. TONY: (INTO PHONE) Well, what's bigger than blwing up one of our ships? STEVENS: (ON MONITOR) blwing up a port. Ever hear of Port Chicago? TONY: (INTO PHONE) No, but I saw the TV movie. Michael Jai White is this guy who had - I see your point. STEVENS: (ON MONITOR) Good. TONY: (INTO PHONE) Is there any intel on the crew, especially this Pinpin Pula guy? We need his photo for a BOLO. STEVENS: (ON MONITOR) We took surveillance photos of the crew when they were docked in Istanbul. TONY: (INTO PHONE) Great. STEVENS: (ON MONITOR) If Galib had intel on Abu's plans, did he have time to tell Gibbs? TONY: (INTO PHONE) Maybe. They were together when the bmb went off. STEVENS: (ON MONITOR) Galib was a good agent. Let's hope Gibbs comes out of this coma in time. TONY: (INTO PHONE) He will. CUT TO: INT. CAFETERIA - DAY GELFAND: I ordered another CAT scan on the off chance that he hemorrhaged since the last one. I think it's unlikely. SHEPARD: So why are you doing it? GELFAND: Covering my ass. SHEPARD: You don't strike me as the ass-covering type, Doctor. GELFAND: You know, I dislike this Doctor, Captain, Director formality. I'm Todd. SHEPARD: Jenny. GELFAND: The truth is, Jenny, I'm puzzled. Gibbs took a long time to come out of the coma in ninety-one. SHEPARD: You followed his case after he left Kuwait? GELFAND: Not until today. From Frankfurt, he was air-vaced to Bethesda. They faxed me his hospitalization records. He was in a coma for nineteen days. SHEPARD: My god! GELFAND: That's not terribly unusual. But the tests weren't typical of someone who was in a coma that deep. I mean, his CAT scan didn't reveal any cerebral damage. His E-E-G was normal. It's the same as now. SHEPARD: How do you explain that? GELFAND: Sometimes patients don't seem to want to wake up. Any reason why Gibbs might be one of them? MUSICAL BRIDGE TO: INT. CAT SCAN ROOM - DAY (MUSIC OVER ACTION) (SFX: BEEP TONES) MUSICAL BRIDGE TO: EXT. BEACH - FLASHBACK (MONTAGE OF FLASHBACK SCENES) AGENT FRANKS: This NIS Agent driving was ht with a head sht. Your wife and daughter died in the crash.(SFX: gn) KELLY: Mom's got one! GIBBS: Not as big as ours! KELLY: It's bigger, Daddy! SHANNON: Wow! AGENT FRANKS: Pedro Hernandez, the drug dealer your wife saw kll a Marine. CUT TO: INT. ABBY'S LAB - NIGHT MCGEE: Abby? ABBY: I'm in here. MCGEE: What are you doing? ABBY: I'm worrying.(SFX: DOORS SLIDE OPEN) MCGEE: Me, too. You guys can just set that right there on the floor. Thanks. (SFX: FLATULENCE) (SFX: GIGGLING) ABBY: What's the matter? Never heard a girl fart before? MCGEE: Guys, that was the hippo. ABBY: Are you sure, McGee? MCGEE: Yeah, because you sound more... feminine. ABBY: Like a hippo cow? (SFX: BEEP TONES) ABBY: What aren't you telling me? MCGEE: What do you mean? ABBY: You have that three little pigs look. MCGEE: What? ABBY: The three little pigs. They were afraid to open the door because the big fat wolf was outside. MCGEE: I have no idea what you're talking about. ABBY: Whoa. This is definitely going on my wall. ZIVA: I should be a professional photographer. ABBY: The Director hasn't called. ZIVA: About? ABBY: About? Gibbs? ZIVA: Oh! ABBY: She didn't call you, did she? ZIVA: No. ABBY: 'Cause you know the way you're acting, you might have just, I don't know, forgotten to tell us! MCGEE: Ziva, do you notice anything different in here? ZIVA: No music. MCGEE: That's it. No music. You know, you usually play music in here. ABBY: What if those were Gibbs' guts smooshed all over that room. ZIVA: Oh, for God's sake, Abby. They're not. ABBY: I said, what if they were!? ZIVA: The color would be more coffee brown than red. (SFX: ABBY AND ZIVA SLAP EACH OTHER) CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: His skull was shattered when the explsive blew him against the overhead, as if he were fired from a cannon. TONY: The oil drum. DUCKY: Precisely. Now don't ask me what our guest was doing in an oil drum, sitting on a bmb because I haven't the foggiest. TONY: Hmm. No other explanation? DUCKY: Well, none that would explain these remains. TONY: I need a positive I.D. on this body, Duck. DUCKY: Well, DNA tissue is in Abby's capable hands. How's Jethro? TONY: Still out. The Director's with him. DUCKY: I'd best get down to Portsmouth. TONY: Not until you finish the autopsy. And while you're at it, why don't you ask your guest what he was doing sitting on an oil drum on a bmb. (SFX: DOORS SLIDE OPEN) DUCKY: You sound like Gibbs. What were you doing in that oil drum? Hmm? CUT TO: INT. CORRIDOR - DAY (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN/ CLOSED) (TONY AND MCGEE COLLIDE) MCGEE: Oh, boy! Tony, I'm sorry. I'm so sorry! Sorry. Sorry. I'm sorry, Tony. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) CUT TO: INT. ELEVATOR - DAY TONY: Hate the sight of blood, Probie? Too bad.(SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) MCGEE: Oh, boy. TONY: Handkerchief. MCGEE: I don't have one. TONY: Whatever you came to say better be pretty damn important. MCGEE: Abby slapped Ziva, and Ziva slapped her back. TONY: Damn! I missed it! All right.(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN) CUT TO: INT. SQUAD ROOM - DAY TONY: Assemble the team including Abby. MCGEE: Abby? (PAUSE) Right. (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED) INT. BATHROOM - DAY (RUNNING WATER) DUCKY: (V.O.) Which hospital? Portsmouth? You didn't ask?! Oh, Ziva. I'm not implying that you don't care. ABBY: (V.O.) The way you're acting, you might have just, I don't know, forgotten to tell us. What if those were Gibbs' guts smooshed all over that room? GELFAND: (V.O.) I don't have an answer. CUT TO: INT. CORRIDOR - DAY GELFAND: His EEG is normal. His new CAT scan is normal. How well do you know Gibbs? SHEPARD: He was my mentor at NCIS. He taught me most of what I know. (DOOR OPENS) GELFAND: Yet you're his boss. SHEPARD: Jethro's a great field agent. He's a great team leader. And he deals more efficiently with difficult politicians than I do. GELFAND: Well why isn't he the... SHEPARD: He sht them. GELFAND: So you didn't know him when he was wounded in Desert Storm? SHEPARD: No. GELFAND: He seems to be repeating that trauma, a coma he doesn't want to wake up from. In the morning I'm going to try to find the neurologist who was on his case in ninety one. SHEPARD: Well, why wait until the morning? Forgive me. GELFAND: Yeah. SHEPARD: I'm... just tired. GELFAND: I can arrange a cot for you, I'm sure. SHEPARD: No. I have been away from my office far too long. CUT TO: INT. NURSES' STATION - DAY SHEPARD: I'll find someone who knew Jethro back then. GELFAND: That'd be helpful. SHEPARD: Here are all my numbers. And my cell. GELFAND: I'll call you with an update at zero-nine-hundred, earlier if he shows any signs of waking up. It was good to meet you, Jenny. Not under the circumstances, of course. But ... good nevertheless. (SHEPARD WALKS O.S.) MUSICAL BRIDGE TO: INT. LIVING ROOM - FLASHBACK (BEGIN MONTAGE OF FLASHBACK SCENES) GIBBS: Cover your eyes! KELLY: I've seen you and Mommy kiss! GIBBS: Oh, this is scary kissing. KELLY: Like kissing a frog? GIBBS: Cover up!(MONTAGE OF FLASHBACK SCENES CONTINUING) FRANKS: Much as I'd like to, I can't tell you where the bastard's hiding, gn. GIBBS: I didn't ask you to, Special Agent Franks. FRANKS: I'm going to take a leak. (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - MORNING (SFX: DOORS SLIDE OPEN) ZIVA: Pay up, McGee. Hey! TONY: In a bet on me, I collect. Abby! Front and center. You too, Ziva. Let's go! I know what happened. ZIVA: Look, she slapped me and I was just slapping her-- ABBY: (OVERLAP) Ziva slapped me and I -- TONY: Hey! If there's going to be any bitch-slapping on this team, I'll do it. Clear? Good. Now shake hands. Shake. There we go. That wasn't so tough, was it? And how about a little hug. Big buddy hug. Come on. There we go. Come on. Now a deep tongue kiss. (ABBY AND ZIVA PUNCH TONY) TONY: Oh! Now we feel better. All right, what do you got, McGee? MCGEE: We've got Singapore's surveillance photos on the Bakir Kamir crew. ZIVA: Make me hard copies, McGee. Captain Mahir will identify Pinpin Pula for the BOLO. MCGEE: What makes you think he won't lie? TONY: Abby. ABBY: Um... the taggant traces on the metal fragments were Semtex from the Czech Republic. Khadafi, before we bmb him, was handing out Semtex like taffy to any trror1st with a sweet tooth. TONY: That eliminates my washing-machine malfunction theory. DNA results? ABBY: They should be in by now. TONY: What are you doing here? ABBY: Um... somebody called a conference. MCGEE: You don't think that's Galib in autopsy? (bat) He wants to be sure. ABBY: I've asked Tel Aviv if Captain Mahir is a blimp on their radar. TONY: Blip. ABBY: DNA confirms the body in autopsy is NCIS Agent Abog Galib. TONY: Okay. Any hits on the BOLO? MCGEE: Too many without photos. LEOs are calling in reports on every Filipino sailor in the area. TONY: Did you run them down? MCGEE: Tony, there's two hundred and fifty thousand Filipino sailors. It's more than any nationality in the world. The way the reports are coming in you would think that they're-- TONY: Hey! I don't want to hear how tough it is, McGee. I want you to run them down! MCGEE: Stop playing Gibbs! There! You're doing it right now! Ziva, will you help me out here? ZIVA: It's true, Tony. You're even getting a little grey around the... around the temples. ABBY: You're not Gibbs, Tony. TONY: You're right. Acting like Gibbs doesn't make me the boss. Being senior agent does. So if drinking coffee, staring or whacking the back of your head helps me lead this team, live with it! CUT TO: INT. ICU ROOM - DAY BALIAD: Good morning, Agent Gibbs. The rain stopped. It's going to be a beautiful day. (SFX: BALIAD GASPS) DUCKY: Oh, I'm sorry. I didn't mean to startle you. I'm Doctor Mallard. I overheard you talking and I thought he might be awake. BALIAD: I always talk to my patients. DUCKY: Me, too. BALIAD: Are you a neurologist, Doctor? DUCKY: Medical examiner. BALIAD: Oh. DUCKY: Mine never wake up, but still I talk to them. (BALIAD WALKS O.S.) DUCKY: DUCKY: Well, Jethro, I'd have been here sooner only DiNozzo insisted I finish the autopsy on Agent Galib. It's fascinating. I mean, the poor man was literally blown out of a barrel. (CONT.) It reminded me of when my mother and I visited her brother Carkin in the little town of Clagolaky. Yes, Carkin worked at the cooperage where they make all the casks for the various distilleries. CUT TO: INT. INTERROGATION ROOM - DAY MAHIR: Are you Turkish? Perhaps your father or grandfather was Turkish? Before they come to America? CUT TO: INT. OBSERVATION ROOM TONY: Can you see Ziva as a belly dancer? He brought it up. MCGEE: Why? Because he asked if she was Turkish? TONY: From Russia with Love. Bond is ordered to Turkey to steal the Lector machine from this beautiful, I mean, is there any other kind in a James Bond movie - defecting Russian double agent, Tatia Romaniva - played by Daniela Bianchi. CUT TO: INT. INTERROGATION ROOM MAHIR: Greek. You are Greek? Greek! That's why you hate me. ZIVA: I am not Greek. MAHIR: Greek Cypriot! It would explain your understanding Turkish and hating me. ZIVA: I doubt Cyprus has a liaison officer in the U.S. But... you are getting warm. MAHIR: Liaison? ZIVA: From the French word "lier" which means to bind. In this case, bind NCIS and Mossad. MAHIR: (IN TURKISH) God help me! ZIVA: (IN TURKISH) Too late, Captain. (IN ENGLISH) I have your dossier. Another French word. CUT TO: INT. OBSERVATION ROOM TONY: Dean Keaton! That's it! Dean Keaton is the name of the character Gabriel Byrne plays in The Usual Suspects. I knew it would come to me. CUT TO: INT. INTERROGATION ROOM MAHIR: I am not a trror1st! I did not smuggle wapon into Palestine. I swear it. ZIVA: Or Hamas su1c1de bmb into the port of Ashdod? MAHIR: Mossad blames me for that, too? ZIVA: And much more. MAHIR: Now look, I am not a trror1st! No Wahabi! I fight no Jihad! ZIVA: You profit from it, you swine! And for that, you should die! (bat) Fortunately for you, Captain Mahir, Politique Pratique has suspended Israeli reprisals against all but trrorists. And you say you are not trror1st. MAHIR: I swear by God! ZIVA: Convince me. (SFX: ZIVA SPREADS THE PHOTOS) ZIVA: Pinpin Pula. CUT TO: INT. OBSERVATION ROOM TONY: Lisa Guiraut plays one of those belly dancing women. Very hot. She'd be a grandmother by now. MCGEE: Oh, wait a second. Okay. Ziva looks like her, which is--? TONY: Shh! Pay attention, Probie. Ziva's about to get a photo for the BOLO. MUSICAL BRIDGE TO: INT. ICU TRAUMA ROOM DUCKY: Winning the Scotsman Chess Trophy was the highlight of my Lower Sixth year. I didn't compete in Edinburgh. No, no. I was too distracted by this we-- GELFAND: It is impolite of me to eavesdrop, Doctor Mallard, but I was fascinated by your story. Nurse Baliad told me your name and your specialty. I'm Doctor.... DUCKY: Doctor Gelfand. Chief Neurologist. Yes, the Director told me. GELFAND: Ah. Well, how is our patient? DUCKY: Still comatose, I'm afraid. GELFAND: Were you aware that he was in a coma for nineteen days during Desert Storm? DUCKY: No. GELFAND: He never told you? DUCKY: Well, Jethro doesn't talk much about the past. I consider us to be close friends, but I know very little about his life before we met. MUSICAL BRIDGE TO: BEGIN MONTAGE OF FLASHBACK SCENES (MUSIC OVER MONTAGE OF CENTRAL AMERICAN FLASHBACK SCENES) CUT TO: EXT. DIRT ROAD - FLASHBACK (MUSIC OVER ACTION/TRUCK DRIVING) (SFX: gn) (SFX: GIBBS SHOUTS) CUT TO: INT. TRAUMA ICU - DAY (SFX: GIBBS BOLTS UPRIGHT FROM THE BED/ GASPING) GELFAND: You're in a hospital! Relax! DUCKY: Don't fight it, Jethro! GELFAND: Relax. Relax. You're all right. Can you blink?! All right. Raise your thumb. Raise your thumb. Good. Good. Do you want the tube out? All right. All right. Hold still. Hold still. NURSE: Okay, relax. GELFAND: Okay, breathe. You're fine. NURSE: That's it. GELFAND: I am Doctor Gelfand. This is Nurse Baliad. BALIAD: Maria. GELFAND: Of course you know Doctor Mallard. DUCKY: He calls me Ducky. Welcome back, Jethro. Yeah, we've all been a bit concerned. You shouldn't frighten us like this. GELFAND: You have a question? GIBBS: (GASPING) Where am I? GELFAND: You're in Portsmouth Naval Trauma Center. You were in an explsi*n. NURSE: Relax. Cover your face. GIBBS: I remember. GELFAND: Good. Very good. Most people never remember the trauma. GIBBS: I... I don't know him. (MUSIC OUT) TO BE CONTINUED.... (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x23 - Hiatus (Part I)"}	foreverdreaming
FADE IN: EXT. DOCK - NIGHT GIBBS: (V.O.) Previously on NCIS.(BEGIN FLASHBACK SCENES) (SCENE CUT) GIBBS: Galib, has Abu infiltrated SeaLift? GALIB: They're about to. A radioman, Pinpin Pula is Abu Sayyaf. GIBBS: He plans to blow the Capefear. This will be as bad as Nine Eleven. (SFX: HUGE explsin) (SCENE CUT) GELFAND: So you didn't know him when he was wounded in Desert Storm? SHEPARD: No. GELFAND: He seems to be repeating that drama, the coma that he doesn't want to wake up from. (SCENE CUT) STEVENS: (ON MONITOR) If Galib had intel on Abu's plans, did he have time to tell Gibbs? TONY: Maybe. They were together when the bmb went off. STEVENS: (ON MONITOR) Let's hope Gibbs comes out of this coma in time. (SCENE CUT) DUCKY: Well, Jethro doesn't talk much about the past. I know very little about his life before we met. (INTERCUT MONGATE OF FLASHBACK SCENES OF GIBBS/ FAMILY/ klling) DUCKY: Welcome back, Jethro. GELFAND: You were in an explsin. GIBBS: I remember. I don't know him. (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. ICU ROOM - DAY "HIATUS (PART II)" GELFAND: You don't know Doctor Mallard? DUCKY: Ducky. GELFAND: Ducky. Do you know Ducky? DUCKY: I'm disappointed, Jethro. The last time someone forgot me I was a baby. My mother left me on the ferry from Orkney to John O'Groats. She was on the bus halfway to Thurso before she missed me. I've often wondered if I inspired the Liechtenstein t-shirt. GELFAND: "Oh, god! I left the baby on the bus." DUCKY: Quite. Remember my telling you that, Jethro? GIBBS: I remember the t-shirt. DUCKY: But not me. GIBBS: No. DUCKY: No worries. It'll come. GELFAND: Absolutely. Temporary memory loss is to be expected. Don't let it worry you. Are you breathing comfortably? Good. Let's switch to the nasal cannula, Maria. BALIAD: Okay. GELFAND: You're doing fine. BALIAD: Okay, I'm just going to take this off. GELFAND: Most traumatized brain injuries produce short-term retrograde amnesia. But to erase years of memory, his medial temporal lobes or hippocampus should be damaged. DUCKY: No, his CAT scans and EEG are normal. GELFAND: And he remembers the explsin. And I've never had a retrograde amnesia patient remember the trauma. Never. BALIAD: Okay, there you go. GELFAND: I don't think it's retrograde amnesia. I think it's disassociative. DUCKY: An emotional repression of memory? GELFAND: With no physical damage to the brain, it must be psychological. DUCKY: No... GELFAND: But Doctor, you said Gibbs hasn't spoken of his past. DUCKY: Hardly ever. GELFAND: Perhaps it's too painful. It could explain the prolonged coma in Ninety-one. DUCKY: But the present coma is the result of an explsin. How could it be psychological? GELFAND: What if the latest coma caused a relapse? (TO GIBBS) So how are we doing? GIBBS: Confused. GELFAND: Let's see if we can clear up some of those cobwebs. You remember the explsin? GIBBS: Yes. GELFAND: Where were you when it happened? GIBBS: Kuwait. SHEPARD: (V.O.) I have good news. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY SHEPARD: Gibbs has regained consciousness. ABBY: Yay! That's great! SHEPARD: However, there's also a problem. He has some memory loss. ABBY: Retrogressive amnesia is totally normal after severe trauma. TONY: Happens every time the boss smacks me on the back of the head. MCGEE: Well, you know, I had amnesia after my car crash. TONY: Your bumper car get T-boned at Legoland, Probie? MCGEE: No, Tony. I told you about when I totaled my Camaro when I was sixteen. That day is still a blank to me. SHEPARD: Well, Gibbs' blank is the last fifteen years. To him, it's nineteen ninety one and he's a Marine gn Sergeant wounded in Desert Storm. ZIVA: He doesn't know he's an NCIS Special Agent? SHEPARD: I doubt it. He didn't recognize Ducky. ABBY: Well, if he doesn't know who Ducky is, then there's no... TONY: He'll never remember us. SHEPARD: I am sure it's a temporary condition. In the meantime, we have an Abu Sayyaf trror1st to apprehend. I really don't know anything more, Abby. ABBY: Can I go visit him? SHEPARD: Not just yet. His neurologist, Captain Gelfand, will let us know when he's up to it. ABBY: Can I... I run to the restroom? I'll come right back. SHEPARD: If anyone else needs a potty break, now is the time to do it. We'll meet at seventeen ten. (SHEPARD WALKS O.S.) ZIVA: You know what that means? TONY: The Director's taking over the investigation. ZIVA: Probably. But I was thinking if Gibbs doesn't remember the last fifteen years, he'll be a probie. TONY: Gibbs would never let her take over. ZIVA: Not the old Gibbs. Probie Gibbs. (TONY RUNS UP THE STAIRS) TONY: Director Shepard? SHEPARD: Yes, DiNozzo. TONY: I want you to understand that in Gibbs absence, as the team's senior Special Agent, this investigation is mine. SHEPARD: Is it? TONY: Yes, it is, ma'am. SHEPARD: And if I were to dispute that assumption? TONY: Then you would be a fool. And you are no fool, Director. This will be a long, tough, investigation. You're overloaded as it is, and no one knows this team better than me.... except for the boss. SHEPARD: Which evidently isn't me. TONY: I was speaking, of course, of the team boss; Gibbs. You are the Agency boss. SHEPARD: Not if you keep telling me what I can and cannot do. TONY: I would never do that, Ma'am. SHEPARD: Then what is it that you're saying? TONY: You take care of the big picture, and let me handle the two-reeler. SHEPARD: I always intended to, Tony. TONY: Then... why did you make me say all that just now? SHEPARD: I just wanted to see if you had as much guts as Gibbs. CUT TO: INT. ICU ROOM - DAY GELFAND: What's the first thing you remember after the explsin? (INTERCUT MONTAGE OF FLASHBACK SCENES) SHEPARD: (V.O.) Did you know when Jethro was married that he had a daughter? CUT TO: INT. SHEPARD'S OFFICE - DAY DUCKY: No, that's not possible. I know all three of Jethro's ex-wives. They had no children.(DOOR CLOSES) SHEPARD: With his first wife, Shannon, he did. They married in eighty-two, and had a daughter, Kelly, who was born in eighty four. DUCKY: I can't believe it. SHEPARD: There's more. They were mrder when Jethro was fighting in Desert Storm. Shannon witnessed the shting of a Marine in Oceanside. She identified the kller as Pedro Hernandez, a Mexican drug dealer working Camp Pendleton. An NIS Agent was assigned to protect her. A snper sht him in the head while he was driving their van. He died instantly. Shannon and Jethro's eight year old daughter Kelly were klled in the crash. DUCKY: That is so awful. SHEPARD: Kelly looked a lot like Jethro, didn't she? DUCKY: Yes, a bit. She's a beautiful child. SHEPARD: Very. So was Shannon. Jethro always did like redheads. DUCKY: Was Hernandez ever caught? SHEPARD: No. He fled to Mexico. NIS tried to extradite, but the Mexican authorities always claimed they couldn't find him. It's in our cold case files. DUCKY: Oh, you can close it. SHEPARD: What do you know? DUCKY: Jethro would have pursued the kller of his wife and daughter to hell and back. Jethro got his revenge. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY TONY: After conducting the autopsy, Ducky is virtually certain Abog Galib was inside the oil drum when the explsive detonated. MCGEE: Why would he be in a laundry oil drum? ABBY: Maybe he was looking for his laundry? TONY: This is serious, Abby. ZIVA: Oh! Listen to the pot call the kettle black. Got that right, didn't I? TONY: No. ZIVA: Yes! TONY: Probie, why was Galib in that oil drum? MCGEE: He was hiding. ABBY: From who? Gibbs? TONY: Maybe. He ran from Gibbs, even though the plan was that he was supposed to get arrested in front of the crew. ZIVA: Another question. How did Pinpin Pula know Gibbs and Galib would be in the ship's laundry? ABBY: Right! Because they would have had to put the bmb inside the oil drum before they got there. MCGEE: Gibbs knows. TONY: Gibbs also thinks the Giants just won the Super Bowl and Dances With Wolves is an Academy Award nominee. ABBY: I loved that movie. ZIVA: Me, too. Those Native Americans were so macho in their-- TONY: (SHOUTS) Enough! Abby, I want a reenactment of the explsin, okay? Using crime scene photos, measurements, Ducky's autopsy-- ABBY: (OVERLAP) Ducky's autopsy findings? I know how to do a computer reenactment, Tony. TONY: Ziva, what did you get out of the cook? What's his name? ZIVA: Alon Atu. From the same Filipino village in Basilan as Pinpin. He's hardcore Abu Sayyaf. He won't talk unless I-- TONY: No trture. ZIVA: He won't talk. TONY: Try. ZIVA: Okay. But you're tying my feet. TONY: Hands. ZIVA: Those, too. TONY: McGee, Pinpin's photo get added to the BOLO? MCGEE: Yes, Tony. TONY: SeaLift Command get it? MCGEE: They are faxing it to all hundred and ten ships. There's no way that he's going to infiltrate SeaLift. TONY: He blew up Galib and put Gibbs in a coma. Rule Number Three. Never underestimate your opponent. MCGEE: No, actually Rule Number Three.... TONY: DiNozzo's Rule Numero Tre, Probie. MCGEE: Gotcha. Never underestimate your opponent. CUT TO: INT. RADIO ROOM - DAY (SFX: FAX) (SFX: PAPER SHREDDER) CUT TO: EXT. SHIP DECK - DAY SEAMAN: Hey, Galib. (MUSIC UP AND OUT) FADE IN: INT. ICU ROOM - NIGHT GELFAND: (V.O.) He's trying to catch up on fifteen years by watching TV.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) SHEPARD: (INTO PHONE) Jethro hates television. (SCENE CUT) GELFAND: (INTO PHONE) He can't believe we're still fighting in Iraq. SHEPARD: (V.O./FILTERED) He's not alone (SCENE CUT) SHEPARD: (INTO PHONE) Does he remember being an NCIS Special Agent? (SCENE CUT) GELFAND: (INTO PHONE) No. Doctor Mallard's still a stranger to him. (SCENE CUT) SHEPARD: (INTO PHONE) He won't know me, then. Ducky worked with him years before I did. GELFAND: (V.O./FILTERED) Well, who an amnesiac remembers.... (SCENE CUT) GELFAND: (INTO PHONE) .... depends on their prior relationship. Have you found any Marines he served with in Desert Storm? (SCENE CUT) SHEPARD: (INTO PHONE) Two, so far. One's dad. The other's a Regimental Commander in Iraq. (SCENE CUT) GELFAND: (INTO PHONE) Well, Gibbs recalls visiting his wife and daughter's graves. So his memory is up to at least June of ninety-one when he was released from Bethesda. (SCENE CUT) SHEPARD: (INTO PHONE) He joined NIS that August. GELFAND: (V.O./FILTERED) How about somebody he knew at NIS? SHEPARD: (INTO PHONE) Um... Special Agent Michael Franks headed the mrder investigation. I'll start with him. Thanks, Todd. (SCENE CUT) GELFAND: (INTO PHONE) When are you coming back to see him? SHEPARD: (V.O./FILTERED) Tomorrow. GELFAND: (INTO PHONE) I'll be here.(END TELEPHONE INTERCUTS) MUSICAL BRIDGE TO: INT. HOSPITAL BATHROOM - DAY (MUSIC OVER ACTION/GIBBS SHAVES HIS HAIR) CUT TO: INT. SHEPARD'S OFFICE - NIGHT CYNTHIA: Special Agent Franks retired in ninety-six. He left no forwarding address or phone number. SHEPARD: Yes, he did. CYNTHIA: He did? SHEPARD: Find out where OPM mails his retirement checks. CUT TO: EXT. BEACH - DAY CAMILA: Hola, Miguel! MIKE FRANKS: Hola, mi bonita! CAMILA: (IN SPANISH) How did you live to be such an old man? MIKE FRANKS: (IN SPANISH) Old man!? Come inside. I'll show you how old I am. CAMILA: (IN SPANISH) You cannot afford me. MIKE FRANKS: I just got paid. CAMILA: Ah, then you can pay me for the groceries. You owe me three hundred and twenty pesos. (SFX: TELEPHONE BEEP TONES/ RINGING) CAMILA: Ah! Your hand is greasy. MIKE FRANKS: (CHUCKLES) Who you calling? OPERATOR: (V.O./FILTERED) Operator. CAMILA: (INTO PHONE) I don't know. OPERATOR: (V.O./FILTERED) How may I help you? CAMILA: (INTO PHONE) Collect call from Senor Miguel Franks. OPERATOR: (V.O./FILTERED) One moment. CAMILA: They called you at the cantina. MIKE FRANKS: Who called me? (INTO PHONE) Who the hell is this? (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) CYNTHIA: (INTO PHONE) Director Shepard's assistant, Mister Franks. (SCENE CUT) MIKE FRANKS: (INTO PHONE) Director of what? CYNTHIA: (V.O./FILTERED) NCIS, Sir. MIKE FRANKS: (TO CAMILA) Why the hell didn't you ask me? CAMILA: They said it was muy importante. What is the problema? It's free. (CAMILA CURSES IN SPANISH B.G.) MIKE FRANKS: (INTO PHONE) Speak! (SCENE CUT) CYNTHIA: (INTO PHONE) One moment. I'll connect you. (SCENE CUT) SHEPARD: (INTO PHONE) Mister Franks? (SCENE CUT) MIKE FRANKS: (INTO PHONE) How many damn assistants does the Director have? (SCENE CUT) SHEPARD: (INTO PHONE) Just one. (SCENE CUT) MIKE FRANKS: (INTO PHONE) Then who the hell are you? (SCENE CUT) SHEPARD: (INTO PHONE) Director Shepard of NCIS. (SCENE CUT) (MIKE FRANKS LAUGHS/COUGHS) MIKE FRANKS: (INTO PHONE) Charlene, is this you? (SCENE CUT) SHEPARD: (INTO PHONE) No. My name is Jenny Shepard and I am Director of NCIS. (SCENE CUT) MIKE FRANKS: (INTO PHONE) Thank the Lord. SHEPARD: (V.O./FILTERED) That mean you approve? MIKE FRANKS: (INTO PHONE) Means all my thoughts that early retirement was a mistake, just proved themselves wrong. (SCENE CUT) SHEPARD: (INTO PHONE) I didn't call you to discuss your opinions of a female Director. (SCENE CUT) MIKE FRANKS: (INTO PHONE) Didn't think you did. (SCENE CUT) SHEPARD: (INTO PHONE) I need your help.... Special Agent Franks. (SCENE CUT) MIKE FRANKS: (INTO PHONE) Ain't been that for eleven years. Good bye, Director. (SCENE CUT) SHEPARD: (INTO PHONE) Leroy Jethro Gibbs. CUT TO: INT. LAB - DAY ABBY: Can you imagine how scary that would be to lose the last fifteen years of your life? MCGEE: Oh, my God. ABBY: What? MCGEE: I'd still be in high school. ABBY: Oh, yuck! Zits. Braces. Raging hormones. MCGEE: Yeah. I used to walk around all day with my notebook in front of my.... ABBY: In front of your what, McGee? MCGEE: The laundry room is off. It should actually be three point nine six two meters wide. Not two six. ABBY: Better? MCGEE: Yeah. It's got to be accurate. ABBY: Absolutely. So was it one of those tiny spiral notebooks or one of those big three ring binder things, Timmy? MCGEE: And where were you fifteen years ago, Abby? ABBY: So where did you find Gibbs? MCGEE: Afraid I'm going to find out - what was that for? ABBY: Distracting me. MCGEE: I was not distracting you. ABBY: Gibbs. MCGEE: Between the dryer and the bulkhead. A little closer to the bulkhead. The autopsy report indicates that Galib was sitting on the bmb. ABBY: Which consisted of one hundred and thirteen grams of Semtex. MCGEE: Wow! You can compute the amount of Semtex used that accurately? ABBY: I am a scientist, McGee. I can compute anything accurately, including the size of the notebook required to... MCGEE: Stop! Can you detonate the bmb, please?(SFX: SIMULATED bmb EXPLODES) ABBY: Sorry. I forgot to tell you I added sound. MCGEE: Yeah. Uh... can we try that again without sound? ABBY: Yeah, it was a little loud, huh? MCGEE: Yeah. And let's go frame-by-frame so we can see what happened. ABBY: Of course. In the first microsecond, less than the time it takes for you to blink your eye, the bottom of the barrel and Galib's lower body are atomized. The oil drum is disintegrating, but retains enough integrity to blow what remains of Galib into the overhead. In the following microseconds, the oil drum disintegrates. Galib is impacted into the overhead and Gibbs... is... dad! MCGEE: (OVERLAP) dad. CUT TO: INT. SQUAD ROOM - DAY MCGEE: If Gibbs had been standing when the bmb detonated, he'd have been blasted into the bulkhead and shredded by shrapnel. ABBY: Gibbs had to duck for cover before the bmb went off. TONY: He knew! ABBY: Yeah. ZIVA: What's wrong with this picture? ABBY: Nothing. McGee and I triple checked all the numbers to make sure that... ZIVA: Not your picture. Did I make another idiomatic mistake? TONY: No. You mean something's wrong with what we know. ZIVA: ZIVA: Exactly. We know Galib ran. We know Gibbs pursued him. We know they were in the ship's laundry. We know Galib sat on a bmb inside the oil drum. And thanks to Abby and McGee, we know Gibbs knew that a bmb was about to explode. Oh, and we know Pinpin, a missing crewman on the Kamir Bakir, is an Abu Sayyaf trror1st. (CONT.) Probably the one who planted and detonated the bmb. TONY: You left out Pinpin Pula means "rice patty dke." But other than that, damn good summation, Ziva. ZIVA: Thank you. TONY: So, as Ziva said, what is wrong with this picture? MCGEE: Gibbs knows. But he doesn't remember. MUSICAL BRIDGE TO: INT. HOSPITAL ROOM - DAY SHEPARD: Jethro? GIBBS: Shannon? SHEPARD: No, Jethro. It's me, Jenny. You still don't remember me? (INTERCUT FLASHBACK SCENES) GIBBS: Maybe. SHEPARD: I'm Jenny. We were partners. GIBBS: After Shannon died. SHEPARD: Yes! GIBBS: Did I marry again? SHEPARD: Three times. GIBBS: (LAUGHS LIGHTLY) No way! SHEPARD: Afraid so. GIBBS: Oh, you're an ex-wife? SHEPARD: Oh, God no. I'm the Director of NCIS. GIBBS: For a moment I thought you were somebody else. SHEPARD: You remembered us making love, didn't you, Jethro? (LONG bat) At least that's a start. Do you recognize this man? (INTERCUT MONTAGE OF FLASHBACK SCENES) GIBBS: (LONG bat) It's like ... a name on the tip of my tongue and I can't remember! SHEPARD: Calm down. It'll come. GIBBS: It's important, isn't it?! SHEPARD: Yes. Very. GIBBS: It's life or death, right?! SHEPARD: Don't get upset, Jethro. You won't remember. GIBBS: Give me a name! SHEPARD: Pinpin Pula. GIBBS: That's not his name. That can't be his name. SHEPARD: Are you sure? GIBBS: (SHOUTS) No! I'm not sure! I don't remember! How can I be sure?! GELFAND: What's happening? SHEPARD: I'm sorry. It's my fault. GELFAND: (OVERLAP) Maria, give him ten milligrams of morphine. Agent Gibbs, your blood pressure is spiking... GIBBS: (OVERLAP) I'm not Agent Gibbs! I don't know Agent Gibbs! I don't want to know Agent Gibbs! I want my family. I want Shannon. I want...Kelly. I miss them. I miss them so much. Oh, no.... (MUSIC OUT) FADE IN: INT. HOSPITAL ROOM - DAY BALIAD: Normally we'd move you to a regular room, but for once the hospital is full up, and ICU isn't. Having the sound off isn't going to help your memory. GIBBS: Nothing new. Same wr. Same crime. Same politics. BALIAD: Aren't you surprised "The Terminator" is the Governor of California? GIBBS: No. The Gipper was President. BALIAD: I'll be right back with your dinner. GIBBS: And none of that baby food, okay?! A steak. Rare would be nice. And french fries, please? BALIAD: Maybe tomorrow. GIBBS: Tomorrow I won't be here. MIKE FRANKS: (V.O.) Hello, Probie. CUT TO: EXT. STREET - FLASHBACK MIKE FRANKS: My brother and I married the same woman twice. GIBBS: Twice! MIKE FRANKS: She was a hell of a woman, Probie. CUT TO: INT. HOSPITAL ROOM - DAY GIBBS: Hey, Boss. MIKE FRANKS: Damn, you got old, Marine. GIBBS: Have you looked in the mirror lately? MIKE FRANKS: If you hadn't been in a coma... GIBBS: They're dad, Mike. Shannon and Kelly, they're both dad. MIKE FRANKS: I know, Jethro. GIBBS: It can't have been fifteen years. Can it? God, feels like I just got the news in Kuwait a couple of months ago. (LONG bat) You investigated Shannon's mrder. That's how I met you. Camp Pendleton. You were the Special Agent in charge. Yeah. I became an agent because of you. You left the snper folder on your desk so I could... (SFX: MIKE FRANKS CLEARS HIS THROAT) GIBBS: So I could join NIS. CUT TO: INT. NIS OFFICE - FLASHBACK (INTERCUT MONTAGE OF FLASHBACK SCENES) GIBBS: I like the blue better, Boss. CUT TO: INT. HOSPITAL ROOM - DAY GIBBS: NCIS. The Navy changed the name that same year. Nineteen... ninety? Ninety... MIKE FRANKS: Two. GIBBS: We investigated crime scenes. MIKE FRANKS: I investigated crime scenes. You schlepped. CUT TO: EXT. STREET - FLASHBACK MIKE FRANKS: In 'Nam I packed twice what you're carrying through monsoon mud with Charlie shting at my ass and still went faster than you! CUT TO: INT. HOSPITAL ROOM - DAY GIBBS: You taught me how to be an agent. MIKE FRANKS: Nah. I didn't teach. You observed. CUT TO: MONTAGE OF FLASHBACK SCENES (MUFFLED NEWSCASTER OVER MONTAGE OF bmb FLASHBACK SCENES) MIKE FRANKS: Semper fi. CUT TO: INT. HOSPITAL ROOM - DAY GIBBS: Khobar Towers. You warned them about Bin Laden. They didn't listen. And you quit. MIKE FRANKS: I didn't quit. I retired. GIBBS: You were pissed that they wouldn't listen, Mike. Pissed that all Clinton did was lob a couple of cruise mssile at Al Qaeda camps in Afghanistan. You quit, Mike. MIKE FRANKS: I didn't get calluses on my ass flying from Mexico to argue, Jethro. GIBBS: Okay. You're right. I'm sorry. MIKE FRANKS: Never say you're sorry. It's a sign of weakness. GIBBS: Why are you here, Mike? MIKE FRANKS: Your Director called me in. What's with the female NCIS Director crap? GIBBS: I don't know. I only remember Jenny as a... MIKE FRANKS: Jenny? GIBBS: Yeah. Jenny. She said she was my partner. MIKE FRANKS: What kind of partner? BALIAD: (V.O.)You can't smoke in here! MIKE FRANKS: I... forgot I was in a hospital. BALIAD: It's against the law to smoke in any public building. MIKE FRANKS: You're kidding! Another good reason to live in Mexico. CUT TO: INT. AUTOPSY ROOM - DAY JIMMY: You were right, Doctor Mallard. DUCKY: For once? JIMMY: No, Doctor. You... DUCKY: What am I right about this time? JIMMY: Galib and the oil drum. Abby's computer recreation looks exactly like he's been sht from a cannon. DUCKY: Oh, it's a risky occupation even without explsives. JIMMY: They don't use explsives to sh*t people out of cannons? DUCKY: A man of your age and education? Really, Mister Palmer. JIMMY: I know that they don't use high explsives. I thought maybe... black powder. DUCKY: Compressed air or spring-driven catapults sh*t our intrepid cannonballer into the air. David.... "Cannonball" Smith set the record. Yes, he even was fired across the Mexican United States border. He carried a passport, although today one wonders why. It's a sad fact that sixty percent of all human cannonballs are eventually klled. JIMMY: Oh, if they don't use explsives, then why do so many of them die? DUCKY: They miss the net, Mister Palmer! (LAUGHS) They miss the - oh, my! JIMMY: What is it, Doctor? DUCKY: Galib wasn't sitting in the oil drum. He was stuffed in it! Look. (PASSAGE OF TIME) TONY: (V.O.)The neck bone's cut. DUCKY: Cervical vertebrae was cut very deeply. You were slashed from ear to ear, weren't you? TONY: A machete or a bolo Knfe. DUCKY: Yes, I believe the Filipinos call it a parang. MCGEE: Whatever they're called, it answers one of our questions. ZIVA: And poses a new one. If Galib was dad... TONY: Who did Gibbs follow into the laundry? CUT TO: INT. CORRIDOR - DAY TOLLIVER: Clear!(SFX: STEADY BEEP TONE) NURSE: Clear! (SFX: ELECTRIC CHARGE) (SFX: BEEP TONES) TOLLIVER: We've got a pulse. Give him a mil of atropine. NURSE: Got him at eighty two over fifty eight. TOLLIVER: Getting better, ladies. Blood pressure is coming up. Death is not my jam. CUT TO: INT. HOSPITAL ROOM - DAY BALIAD: You haven't touched your dinner, Special Agent Gibbs. (KNOCK ON DOOR) BALIAD: No steak tomorrow if you don't eat your Jell-O today. CUT TO: EXT. PICNIC TABLE - DAY GIBBS: You got your Knfe, Mike? MIKE FRANKS: Security took it at the airport. GIBBS: Was it more than three inches long? MIKE FRANKS: They changed that rule after Nine Eleven. GIBBS: Nine Eleven? MIKE FRANKS: September eleventh of two thousand and one. GIBBS: Hey, Boss. It's ninety six and you just ... retired. Damn this is good. I owe you. Had to be a hijacking, huh? They never change security until it's too late. MIKE FRANKS: (LONG bat) Al Qaeda hijacked four airliners. Two ht the World Trade Center. One the Pentagon. Fourth was to take out the White House. Some gutsy passengers fought them. They went down in Pennsylvania. The Twin Towers are gone. Pentagon's fixed. Three thousand some dad. Nearly as many wounded. (SFX: GIBBS VOMITS) NURSE: (V.O.) Sir, are you all right? MIKE FRANKS: He's okay. Got some bad news. GIBBS: That nurse was right. I'm not ready for a steak. Well, tell me we did more than toss a couple of cruise mssile. MIKE FRANKS: We did more. GIBBS: Bin Laden? MIKE FRANKS: I don't know. GIBBS: How the hell can you not know? MIKE FRANKS: Remember that beach in Baja we fished? GIBBS: Yeah. South of El Rosario. MIKE FRANKS: I built a little place there. No TV, no radio, no newspapers. I fish. I drink beer. Listen to old eight track tapes. Drive to a cantina up the coast when I want company... when the pickup's running. This is the first time I've been to El Norte in ten years. Don't ask me for a sitrep, Jethro. I don't know. GIBBS: You don't want to know. MIKE FRANKS: That's right. I don't want to know. GIBBS: You feel guilty because you quit. If you hadn't quit... maybe you're the one that stops it. MIKE FRANKS: You didn't quit. MUSICAL BRIDGE TO: INT. STORAGE HOLD - NIGHT (MUSIC OVER ACTION/GALIB SETS THE bmb DETONATOR) CREW MEMBER: Hey, Galib. What are you up to? GALIB: Ah, stretching my legs. It's too windy on deck. CREW MEMBER: Hey, why don't you join the poker game tonight? You never leave that damn radio room. GALIB: Ah, I talk to ham radio operators at night. CREW MEMBER: And you'd rather do that than play poker? GALIB: They're all girls. CREW MEMBER: Right. (MUSIC UP AND OUT) MUSIC IN: INT. INTERROGATION ROOM ZIVA: You insist this is Pinpin Pula. MAHIR: Insist. Yes. I like this word. I insist this is Pinpin. ZIVA: I don't believe you. MAHIR: Why would I lie to you when you thrat to kll me? ZIVA: It is not a thrat. I will kll you if you lie, Captain. MAHIR: I believe you. ZIVA: I'm the one who has doubts. MAHIR: It is Pinpin. I swear. CUT TO: INT. OBSERVATION ROOM MCGEE: That's not loaded, is it? TONY: Would Gibbs allow Ziva to carry a loaded wapon in there? MCGEE: No. TONY: And I'm not Gibbs, right? ZIVA: (V.O.) So Captain.... CUT TO: INT. INTERROGATION ROOM ZIVA: You're positive? MAHIR: I am positive. Absolutely positive! How many times do I have to tell you?! ZIVA: Once more. Take a good look. MAHIR: I don't need to look! The man was on my ship for months! It's Pinpin Pula. ZIVA: Was it Abu Sayyaf? MAHIR: Yes! It was Abu Sayyaf. ZIVA: Who ran from customs? MAHIR: Yes! Yes! He ran when your guy-- ZIVA: You knew it was Pinpin not Galib at the custom's gate. MAHIR: (IN TURKISH) Allah help me! (IN ENGLISH) Yes, I knew. I knew. They paid me. I was quiet. They paid me to be quiet! But... Pinpin never told me there was a bmb! I never knew that! I never knew - ah!!! Oh.... CUT TO: INT. SQUAD ROOM - NIGHT SHEPARD: That's the NCIS I.D. photo of Special Agent Abog Galib that I showed Gibbs. What's your point, DiNozzo? TONY: A scary one, Director. Captain Mahir admitted to Ziva that Pinpin passed himself off as Galib at the custom's check. SHEPARD: And Gibbs would have expected Galib to change his appearance going undercover. Growing his hair, maybe a mustache. Dirty himself up. So when Pinpin handed him Galib's passport it was good enough. ZIVA: To pass the mustard. MCGEE: Muster, not mustard. SHEPARD: Galib's documents are vetted to get him on any crew in the world. TONY: Including the Cape Fear or Cape Horn. ZIVA: We sent a second BOLO with Pinpin's photo. Both ships confirmed he was not onboard. TONY: Send it again AKA Abog Galib. Get me the crew rosters from Sealift Command. MCGEE: On it. SHEPARD: DiNozzo, call MTAC. I want the NSO, Pentagon, FBI, CIA - hell, everyone on ASAP! TONY: My gut tells me we're missing something. ZIVA: Gibbs. TONY: Yeah, Gibbs. CUT TO: INT. HOSPITAL ROOM - NIGHT (SFX: GIBBS STARTLES AWAKE) GIBBS: And you? ZIVA: Ziva. GIBBS: Do we work together? ZIVA: Yes. I'm a Mossad officer attached to your team. GIBBS: Mossad? When did they start doing that? ZIVA: It's been a year. GIBBS: Don't feel bad. I worked with that M.E. ZIVA: Ducky. Ten years. And you don't remember him. GIBBS: Do you always finish people's sentences? ZIVA: Only when I'm in a hurry. Abu Sayyaf is planning a trror1st attck on the Navy. It will be as devastating as-- GIBBS: Nine Eleven. ZIVA: You remember Nine Eleven? GIBBS: My boss told me. ZIVA: Director Shepard. GIBBS: No. No, my boss. It doesn't matter. What can I do? ZIVA: Remember. GIBBS: (SHOUTING) I've been trying to since I woke up in this room! ZIVA: Well try harder! (bat) Good. That's a start. GIBBS: What is?! ZIVA: The old Gibbs' stare. You gave it to all of us; McGee, Tony, me! GIBBS: (SHOUTS) What are you talking about?! (SFX: GIBBS HITS ZIVA IN THE HEAD) (INSERT MONTAGE OF FLASHBACK SCENES) ZIVA: Ari.... Ari klled Kate. (INSERT MONTAGE OF FLASHBACK SCENES) ZIVA: (CRYING) And I... I klled Ari! (INSERT MONTAGE OF FLASHBACK SCENES) GIBBS: Your brother. ZIVA: (CRYING) Yes. GIBBS: You klled your brother. (SFX: ZIVA CRYING) GIBBS: To save me. CUT TO: INT. SQUAD ROOM TONY: (INTO PHONE) I'm sure he remembers you, Ducky. MCGEE: (INTO PHONE) Ziva's driving him here now! TONY: (INTO PHONE) I don't know. Maybe she pulled her-- (TONY AND MCGEE TALK OVER) MCGEE: (INTO PHONE) He's coming back. He will remember you, absolutely. TONY: (INTO PHONE) He insisted. MCGEE: (INTO PHONE) Any minute now.(ELEVATOR DINGS/ DOORS OPEN/ CLOSE) TONY: Boss! GIBBS: McGee. MCGEE: Uh... uh, Boss, no I'm McGee. ABBY: Gibbs! Oh!(ABBY HUGS GIBBS) GIBBS: Hey, Abby. MCGEE: Whoa. GIBBS: I do remember you, Abs. Ducky, how can I forget? Your mother left you on a bus. DUCKY: I have no idea, Jethro. ABBY: Should you be out of the hospital, Gibbs? GIBBS: I don't have time, Abs. I'll talk to you both later. I should have known it wasn't Galib. (ALL AD LIB AGREEMENT) TONY: I'd have made the same mistake. GIBBS: Well yeah, DiNozzo. I know. That's why I'm so pissed! (GIBBS SLAPS TONY) TONY: You didn't forget me! SHEPARD: The Cape Fear is loaded with twenty thousand -- CUT TO: INT. MTAC SHEPARD: ... tons of munitions, Deputy Director Welch. WELSH: (ON MONITOR) Which is why we cannot permit her to reach Gibraltar without boarding a Navy Search team. SHEPARD: Agreed. But if that frigate signals a heave-to and prepare to be boarded, Pinpin Pula will blow the Cape Fear. No one will survive. WELSH: (ON MONITOR) If he's on board and if he's a su1c1de bmb. TOM ZILL: (ON MONITOR) You're risking nineteen civilian lives on ifs Director Welsh. WELSH: (ON MONITOR) In the Med he could explode near a cruise ship. Nineteen will seem an acceptable loss GIBBS: No death is acceptable when it's unnecessary! SHEPARD: Deputy Director Welsh, Special Agent Gibbs. GIBBS: This trror1st isn't after a cruise liner. WELSH: (ON MONITOR) Islamic trrorists love soft targets. GIBBS: No, he wants the Marine asault ship the Cape Fear's replenishing in the Gulf. WELSH: (ON MONITOR) You don't know what he wants! He's a trror1st! A cruise ship, the Suez Canal... GIBBS: (SHOUTS) He told me! WELSH: (ON MONITOR) He told you? GIBBS: Pinpin Pula is an arrogant son-of-a-bitch! He thought the bmb he'd planted would kll me. WELSH: (ON MONITOR) So he's not a su1c1de bmb? GIBBS: For God's sakes, order that frigate to break off! WELSH: (ON MONITOR) I can't do that. GIBBS: (SHOUTS) Is everyone up there as stupid as you?! Pinpin Pula is on the Cape Fear! He's the radio man! He intercepts every BOLO we send him and he replies "No Pinpin here!" WELSH: (ON MONITOR) We've got that, Special Agent Gibbs. That's why we didn't communicate with the Cape Fear until... now. GIBBS: Jeff! Thank God you're there! Can you get your SEALs onboard without being seen? FLETCHER: (ON MONITOR) We can execute a HALO insertion within ten hours. WELSH: (ON MONITOR) The Cape Fear will have entered the Med. That's unacceptable. If anything happens, it'll be on some tourist video camera. GIBBS: The sailors on that frigate have video cameras! WELSH: (ON MONITOR) We can confiscate those videos. GIBBS: What? (SHOUTS) You don't want this being seen?! WELSH: (ON MONITOR) An accident at sea is better than an act of terrorism. GIBBS: (SHOUTS) It's too late! CUT TO: INT. RADIO ROOM - DAY VOICE: (V.O./FILTERED) Cape Fear. Heave-to. Stand by to be boarded for inspection. Heave-to. Stand by to be boarded for inspection. CUT TO: INT. MTAC - DAY GIBBS: (SHOUTS) You bastard! (SFX: HUGE explsin AS THE SHIP BLOWS UP) CUT TO: INT. SHEPARD'S OFFICE - NIGHT GIBBS: I was wrong. SHEPARD: You weren't wrong. GIBBS: I was angry at Mike. I never understood how he could quit.( bat) Until now. CUT TO: INT. SQUAD ROOM - NIGHT (SFX: DRAWER OPENS) TONY: Oh, I got them, Boss. I got them from the medics when they took you. GIBBS: Appreciate it. You'll do. It's your team now. (TO MCGEE) Tim, you're a good agent. Don't let him tell you otherwise. MCGEE: I won't, Boss. ABBY: Gibbs!(GIBBS KISSES ABBY ON CHEEK) GIBBS: I owe you, Ziva. ZIVA: I'll collect, Jethro. GIBBS: Give me a ride home, Duck. DUCKY: Of course. GIBBS: Semper fi! (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) CUT TO: EXT. BEACH - DAY (MUSIC OVER ACTION/GIBBS WALKS TO THE BEACH) (MUSIC OVER ENDING CREDITS AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "03x24 - Hiatus (Part II)"}	foreverdreaming
MUSIC IN: EXT. STREET - DAY (MUSIC OVER ACTION/ZIVA DRIVES THROUGH DOWNTOWN TRAFFIC) (SFX: HORNS HONKING) (SFX: MOTORCYCLE ENGINE REVS NEAR ZIVA) (INTERCUT SCENE FROM PARIS, FRANCE) (VOICE: "Ziva! Ziva! Ziva!") (SFX: CARS CRASH) (MUSIC OVER ACTION/ZIVA CHASES THE MOTORCYCLE) (SFX: bmb EXPLODES IN OUTDOOR CAFé) (SFX: MOTORCYCLE RIDES O.S.) (MUSIC OVER ACTION/ZIVA LOOKS UP AND DOWN THE SIDEWALK) (SFX: MUFFLED VOICES B.G.) ZIVA: (SHOUTS) Federal agents! Halt! Hands up in the air! Now! (bat) Eschel? (SFX: POLICE SIRENS B.G.) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. NCIS SQUAD ROOM - DAY (SFX: COMPUTER GAME B.G.) ABBY: Is he here yet? Is he here yet? "SHALOM" MCGEE: Abby, do you think I'd be playing this game if he was? ABBY: Ah... MCGEE: I will call you as soon as he gets here, okay? I promise. ABBY: But what if his flight was delayed? Or worse? What if he missed his connecting flight? MCGEE: Well, then he will be here tomorrow. ABBY: Not good enough, McGee! A team needs a leader. He's our glue. He's our spine. Without him we're like.... Phylum cnidaria. MCGEE: Jelly fish. ABBY: Exactly! MCGEE: Are you saying I'm spineless? ABBY: Of course not, Timmy. I'm going to check his flight. MCGEE: Abby, you're getting powder all over my keyboard. ABBY: What's your point? MCGEE: My point is, Abby, you are really, really overdoing the sugar thing again. ABBY: Well, I'm eating for two. (bat) Relax. I was referring to the health food freak over there. Every time I go past her desk, I have this irresistible urge to shove a cheeseburger down her throat. MCGEE: I think she's kind of hot. ABBY: Oh, you think she's hot? MCGEE: Yeah, you know, for a probie. LEE: You two do realize I can hear you, right? ABBY: We do now, very Special Agent Lee. His flight landed on time! Where is he? (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) ABBY: (GASPS) Oh, yay! You're home! Welcome back! I missed you! Oh.... TONY: I missed you, too, Abby. ABBY: Oh, did you have fun? Did you go to that cool bar in Dusseldorf? TONY: You know, I tried. But, you know, that security conference kept us pretty busy. ABBY: Mmm.... TONY: I'm having trouble breathing here. ABBY: I'm sorry! TONY: McGee! Look at you! Mm-hmm! All grown up. So what did I miss the last two weeks? MCGEE: Well, nothing I couldn't handle, Boss. TONY: Good! And to think the Director didn't have any faith in you! MCGEE: What do you mean the Director? TONY: Gather 'round, people. I come bearing gifts. (TO ABBY) For the lovely lady. ABBY: Ah, Tony. It's beautiful. TONY: Not to mention incredibly expensive. Euro is stronger than it used to be. For my Senior Field Agent.... oh... MCGEE: Oh... The Very Best of David Hasselhoff. TONY: You don't like it? MCGEE: I repeat. The Very Best of David Hasselhoff. (F/X: TONY HITS MCGEE) MCGEE: What was that for? TONY: You listen to Yanni. And you have an unauthorized game on your computer. MCGEE: Okay, it's your game, Tony. TONY: Yeah, and you shouldn't have beaten my high score. And for Ziva... das lederhosen! One size fits all. Where is the little Israeli? LEE: Late, Sir. Second time this week. TONY: Agent Lee, my favorite probie-slash-hall monitor. I'll bet you're wondering what the newest member of Team Dinozzo gets. Well, we saved the best for last here. This was not easy getting through customs, but... LEE: A stapler? TONY: It's a German stapler. LEE: But it says "Made in China", Sir. TONY: Oh, yeah. It's that German, Eurasian, China. It's a global village, Lee. Get used to it. LEE: She's over an hour late, Sir. That's unusual, even for her. TONY: What did I tell you about worrying, Probie? LEE: That it's your job. TONY: See? You're learning! LEE: But she's not answering her - I'm sorry, Sir. She's not answering her cell phone either. TONY: Okay, there is only one thing you need to know about Officer David. LEE: Don't make her angry. TONY: So technically, really, there's two things. The other is.... she can take care of herself. CUT TO: INT. ISRAELI EMBASSY - DAY ZIVA: (LOUDLY) I cannot wait any longer! Produce Officer Bashan or I start with your hands and I will not stop until....! BASHAN: (IN HEBREW) Officer David, what did I tell you about terrorizing my men? Leave us alone, please. (DOOR CLOSES) BASHAN: Come, Ziva. Sit. Okay, what seems to be the problem? ZIVA: Why was I not told about this operation? BASHAN: I suppose the simple answer would be... your father did not want you to know. ZIVA: And he wonders why I barely talk to him anymore, Michael. BASHAN: A fact I know he regrets... very much, Ziva. Very much. ZIVA: I spent a year building relationships and trust with NCIS. How do you suggest I explain this to them?! BASHAN: I realize this places you in an awkward position, but Ziva... ZIVA: (LOUDLY) They were sloppy - blatant! BASHAN: And you should have known better! The Americans can be quite prudish in their attitudes, Ziva. ZIVA: You call what happened prudish? BASHAN: That depends. Did you or did you not sleep with him? ZIVA: Who? BASHAN: Anthony Dinozzo, your new team leader. ZIVA: Why do you ask that? BASHAN: Starting three months ago, Ziva, he's been visiting your apartment at least one night a week. ZIVA: My father has you spying on me? BASHAN: I assumed that was the reason for your visit. ZIVA: Well, you assumed wrong, Officer Bashan. I am here because an hour ago a Mossad assassination team klled three people in Georgetown. BASHAN: We have no active operations scheduled in George-- ZIVA: Michael, don't lie to me. I was there. I tried to stop it. BASHAN: What exactly did you see? ZIVA: Officer Namir Eschel. BASHAN: (bat) No. Impossible. ZIVA: I spoke to him. I... I let him go. BASHAN: (IN HEBREW/INTO PHONE) Secure line to Tel Aviv. I need to speak to the director. Immediately. (IN ENGLISH) Tell him... tell him it concerns family. ZIVA: Do you realize how close I came to shting Eschel today? (SFX: HANGS UP PHONE) BASHAN: Namir Eschel is dad, Ziva. Your father and I attended his funeral six months ago. MUSICAL BRIDGE TO: INT. NCIS SQUAD ROOM - DAY MCGEE: (INTO PHONE) Ziva, just call us as soon as you get the message. We're not worried. Just give us a call please. (HANGS UP PHONE) TONY: Okay, now I'm starting to worry. MCGEE: You think she's all right? TONY: Well, if she was all right, she'd be here, McGee. MCGEE: The question is, what would Gibbs do in a situation like this? SHEPARD: He'd find her, Tony. TONY: I'm working on it, Director! SHEPARD: Work harder. Metro Police just found her car on a sidewalk in Georgetown. MCGEE: Actually, it's not that unusual when Ziva's driving. SHEPARD: Yeah, I drove all the way through Eastern Europe with her. I should know, McGee. But in my experience, the FBI doesn't usually concern themselves with traffic accidents. MCGEE: Tony, isn't that the guy who tried to put you away for a mrder? TONY: Yes, it is. And thank you for bringing up a painful memory, McGee. (TO SHEPARD) You knew they were coming, Director? SHEPARD: Calm down, Tony. I only just got the call ten minutes ago. TONY: What do they want with Ziva? SHEPARD: We're about to find out. Together. (TO SACHS) Agent Sachs, Director Shepard. SACKS: Director Shepard. MUSICAL BRIDGE TO: INT. ISRAELI EMBASSY - DAY BASHAN: We have confirmed your report. The man you saw klled was Abdul Wazir, the former Syrian Army Colonel. Wanted for crimes against the State of Israel. ZIVA: It seems I'm not the only one my father likes to keep in the dark. BASHAN: Oh, this was not a sanctioned action, Ziva. We had no hand in this. ZIVA: You mean officially. BASHAN: Officially or unofficially. We knew he was in American custody. Offers protection in turn for supplying information on Al Qaeda cells in Iraq. ZIVA: Protection from what? BASHAN: Us. ZIVA: The two men guarding him? BASHAN: F.B.I. agents. ZIVA: Oh dear God, Michael.... BASHAN: Obviously, Eschel faked his own death. He's operating without orders, making his own decisions. ZIVA: Of perhaps that is merely a cover my father designed for him. BASHAN: Do you really believe he would jeopardize our relations with the Americans like this? ZIVA: There are days I don't know what to believe anymore, Michael. BASHAN: You have not been dismissed yet, Officer David. ZIVA: I have to contact NCIS. BASHAN: Your orders are to remain here until we figure out a strategy to deal with this. ZIVA: Eschel mrder two Americans and a man in their custody. Our strategy is simple. Find him and kll him! BASHAN: There are complications. ZIVA: Which NCIS can help us with! BASHAN: You left your car at the crime scene this morning. ZIVA: It was disabled. I was trying to prevent the attck. BASHAN: The Americans do not see it this way. ZIVA: Director Shepard will. (BASHAN EXCLAIMS IN HEBREW) BASHAN: Ziva, the F.B.I. has already issued a warrant for your arrest. ZIVA: On what charges? BASHAN: Espionage and mrder. (MUSIC UP AND OUT) FADE IN: INT. ISRAELI EMBASSY - DAY BASHAN: This is a political nightmare. I'm asking for your patience, Ziva. We need time to deal with this. ZIVA: You'd hold me against my will, Michael? BASHAN: I will do what's best for you. (DOOR OPENS) BASHAN: Your father, he will find the solution to this, Ziva. ZIVA: Like he did for my brother Ari? BASHAN: Escort her to guest quarters. (WHISPERS) Do not forget to confiscate her wapon. ZIVA: I'm sorry for this. BASHAN: As am I. (DOOR CLOSES) ZIVA: I was talking to you! (MUSIC OVER ACTION/ZIVA attcks THE SECURITY OFFICER) ZIVA: Have you ever been tied up by a woman before? Huh? Did you like it? Then today is not your lucky day. MUSICAL BRIDGE TO: INT. NCIS SQUAD ROOM - DAY (DOOR OPENS) TONY: Very professional. SACKS: Your Director kicked us both out, Dinozzo. TONY: Only because you couldn't keep your soup cooler shut. SACKS: Well, your Mossad liaison officer klled two FBI agents today. Sorry if that pisses me off! TONY: Where's your proof? SACKS: Proof? Car abandoned at the crime scene. The Syrian was on their most wanted list. She's disappeared. And, oh yeah, her brother was a Hamas trror1st. TONY: Where I come from, that's called circumstantial. SACKS: Wait a minute! Where's that? Narnia? (bat) It's a fantasy movie. The Chronicles of Narnia. TONY: I know what it is! Okay story, excellent special effects. SACKS: They were definitely kicking. TONY: That's not my point. Six months ago, you were convinced that I klled a woman and chopped off her legs. SACKS: Hell, I'm still not convinced you didn't. TONY: Exactly. SACKS: So Ziva David is being framed? By who? TONY: Well, that's what I intend to find out. SACKS: Good luck with that. SHEPARD: You two! Up here, now. TONY: Director, will you please tell Agent Slacks... SACKS: Sacks! It's Sacks. TONY: Will you please tell Agent Slacks that we're going to be handling this one in-house? SHEPARD: I just assured your Director that the F.B.I. will be getting NCIS's complete cooperation in this matter. SACKS: Thank you, Ma'am. SHEPARD: If Ziva attempts to contact you, or anyone on your team, I want you to notify both myself and Agent Sacks immediately. TONY: This is complete bull-- SHEPARD: This is an order from your Director, Agent Dinozzo. Is that clear enough for you? TONY: Almost crystal, Ma'am. SACKS: I give you my word that I will try and keep an open mind on this. TONY: Yeah? SACKS: Yeah. TONY: Okay. Listen, uh... about what happened between us before... SACKS: (OVERLAP) No hard feelings. I got it. TONY: No, I was going to say, I still pretty much hate your guts, Sacks. SACKS: Me, too, Dinozzo. Me, too. SHEPARD: Tony? That question you asked me earlier, what would Gibbs do? Gibbs isn't here. You are. (DOOR CLOSES) CUT TO: INT. LAB - DAY ABBY: Gibbs. This is really, really bad. Ziva has disappeared, and everyone's saying that she's just like her brother. I really, really need you to call me. Please. (SFX: PHONE RINGS) ABBY: (INTO PHONE) Gibbs?!(BEGIN TELEPHONE INTERCUTS) ZIVA: (INTO PHONE) Abby, it's Ziva. (SCENE CUT) ABBY: (INTO PHONE) Ziva, are you all right? (SCENE CUT) ZIVA: (INTO PHONE) No, and don't say my name so loud. ABBY: (V.O./FILTERED) Sorry! (SCENE CUT) ABBY: (INTO PHONE) Where are you? (SCENE CUT) ZIVA: (INTO PHONE) At a safe place at the moment. ABBY: (V.O./FILTERED) The F.B.I. was here. (SCENE CUT) ABBY: (INTO PHONE) And Tony was freaking out. (SCENE CUT) ABBY: (V.O./FILTERED) And the Director... ZIVA: (INTO PHONE) Abby, I need you to do a favor for me. ABBY: (V.O./FILTERED) You name it. ZIVA: (INTO PHONE) First, you can't tell anyone I've spoken to you. (SCENE CUT) ABBY: (INTO PHONE) Except Tony, right? ZIVA: (V.O./FILTERED) No. Not even Tony. If I talk to him, he'll get in trouble with the F.B.I. ABBY: (INTO PHONE) What do you need? (SCENE CUT) ZIVA: (INTO PHONE) A phone number. (SCENE CUT) ABBY: (INTO PHONE) All right. I'll call you back at this number. TONY: Abby? (SFX: HANGS UP PHONE) TONY: Who was that? ABBY: Where? TONY: On the phone. ABBY: Oh, um... it was the nuns. MCGEE: The nuns? ABBY: Yep. You know, nuns with the big white hats and the... MCGEE: Habits. Yeah, they're called habits. Big white hats. ABBY: Yep, they called to say that... bowling practice is cancelled. MCGEE: Bowling nuns? ABBY: Geez, McGee! What? Are you on some sort of anti-nun crusade here? MCGEE: What? TONY: Okay. All right. Lay off the nuns. I need to contact Gibbs. If we're going to get Ziva out of this, I'm going to need his advice. ABBY: Well, last I heard he was still in Mexico. TONY: Well, there must be some way to contact him. CUT TO: EXT. BEACH HOUSE - DAY (SFX: HAMMERING B.G.) MIKE FRANKS: Ah, damn it! GIBBS: Hey, you say something? MIKE FRANKS: Four months and you still don't understand the meaning of the word siesta, Probie? GIBBS: The roof's not going to fix itself, Mike. Tropical storm season's only a few weeks away. MIKE FRANKS: Did you ever stop to think that I might like rain? GIBBS: Yeah, just maybe not inside your house! MIKE FRANKS: Don't you have a boat to build or something? GIBBS: Yeah, well the problem with that, Mike, is I'm using all my good lumber to fix your dog-rot house. MIKE FRANKS: I've got a better idea. Why don't you use it to build your own... somewhere down there? GIBBS: Hey, you just say the word. I'll be gone. MIKE FRANKS: Oh, tempt me, Jethro. I ain't nearly drunk enough. But until then, I was thinking your next project would be a nice little hot-tub. Say yay big? Right over there. GIBBS: Teak or redwood? CHARO: Hola, gentlemen. MIKE FRANKS: Gentlemen!? She can't be talking to you and me, gn! CHARO: You? No. Senor Gibbs, si. I hope you're not letting him work you so hard. GIBBS: Nah. MIKE FRANKS: He's living here for free! What does he expect?! CHARO: Perhaps some day he will tell us. MIKE FRANKS: Hey, how much do I owe you? CHARO: (CHUCKLES) Twenty-five American. And you have a phone call. MIKE FRANKS: Okay. CHARO: Not you. Leroy Jethro. GIBBS: Who is it? CHARO: A woman. And she sounded muy upset. MIKE FRANKS: Ha ha. Probably that lady director of yours. About to have a nervous breakdown. GIBBS: (INTO PHONE) Yeah, Gibbs? ZIVA: (V.O./FILTERED) Hola! (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ZIVA: (INTO PHONE) Ah, how's Mexico? GIBBS: (V.O./FILTERED) Ziva! (SCENE CUT) GIBBS: (INTO PHONE) How'd you get this number? ZIVA: (V.O./FILTERED) From Abby. (SCENE CUT) ZIVA: (INTO PHONE) And if it helps, I forced it out of her. GIBBS: (V.O./FILTERED) No. (SCENE CUT) GIBBS: (INTO PHONE) It doesn't. What's wrong? ZIVA: (V.O./FILTERED) Why does something always have to be wrong? Can't I just-- (SCENE CUT) ZIVA: (INTO PHONE) ... Speak with an old friend? (SCENE CUT) ZIVA: (V.O./FILTERED) Do a little catching up? GIBBS: (INTO PHONE) Today, Ziva! (SCENE CUT) ZIVA: (INTO PHONE) Okay. I may be in a little bit of trouble. (SCENE CUT) GIBBS: (INTO PHONE) Yeah? Define little. (SCENE CUT) ZIVA: (INTO PHONE) I am currently on the run from the F.B.I., NCIS, Mossad, and my father. (SCENE CUT) GIBBS: (INTO PHONE) Geez! What'd you do? ZIVA: (V.O./FILTERED) I did nothing, Gibbs. (SCENE CUT) ZIVA: (INTO PHONE) I swear, I did nothing. GIBBS: (V.O./FILTERED) Where's-- (SCENE CUT) GIBBS: (INTO PHONE) ... Dinozzo!? ZIVA: (V.O./FILTERED) He can't help me. (SCENE CUT) GIBBS: (INTO PHONE) Well, you should talk to Jenny. Jenny can help you. (SCENE CUT) ZIVA: (INTO PHONE) I can't. GIBBS: (V.O./FILTERED) Ziva! Look, I'm retired! (SCENE CUT) GIBBS: (INTO PHONE) I'm three thousand miles away! What do you think I can do that they can't do? (SCENE CUT) ZIVA: (INTO PHONE) Honestly? I don't know. (SCENE CUT) ZIVA: (V.O./FILTERED) I was hoping, maybe... (SCENE CUT) ZIVA: (INTO PHONE) ... you'd save me? (SCENE CUT) MCGEE: (V.O.) Two days.(END TELEPHONE INTERCUTS) CUT TO: INT. NCIS SQUAD ROOM - DAY MCGEE: (V.O.) How long are these guys going to be here? LEE: Officer David was here for a year. Who knows how badly she compromised our security. MCGEE: What did you say, Probie? LEE: Oh, come on, McGee. You think we don't spy on our allies, too? It happens all the time. TONY: Agent Lee. LEE: Sir? TONY: Shut up and keep an eye on the Feds. McGee, you're with me. We've got places to be. SACKS: Should be done here, Dinozzo, in another... oh, five - six more hours. CUT TO: INT. AUTOPSY ROOM - DAY TONY: First off, this is a strictly voluntary thing. Ziva's a fugitive. Anyone caught helping or assisting her in any way will be in serious trouble. Palmer? JIMMY: Um.... by serious, you mean like, get fired? DUCKY: He means, Mister Palmer, instead of attending medical school next month, you will most likely be in prison. JIMMY: Oh. ABBY: I'm in! DUCKY: Danger, intrigue, a damsel in distress? I'm actually looking forward to it. MCGEE: Me, too. JIMMY: Um... I'm not exactly the type that would do well in prison, guys. TONY: No one's going to think any less of you if you want out, Palmer. JIMMY: Really? TONY: Well, no. We probably would. At least I know I would. JIMMY: All right, then I want a code name. Something cool sounding. TONY: All right. No one can know about this, especially the Director. Are we all good with that? All right, then let's figure out how to find her. McGee, I want you on her electronic tracks. TONY: (CONT.) Cell phone, computer, toaster oven if you have to. Ducky, please talk to your contacts in the F.B.I. I want to know everything about that Georgetown crime scene. Palmer, how does "Black lung" sound? JIMMY: Like a horrible and painful way to die. TONY: I mean as your code name. JIMMY: Oh, I like it! TONY: Yeah. All right. Well then, you're in charge of supplies, Black Lung. Which means lunch and at this point, probably dinner. Abs, I need you to go-- ABBY: I talked to Ziva yesterday. TONY: You don't bowl with nuns. I should have seen that coming. ABBY: I do! Ziva made me promise not to tell. DUCKY: Why would Ziva care if we knew that you bowled with nuns? TONY: I think she means that Ziva didn't want us getting in trouble, Ducky. DUCKY: It's a bit late for that. Where is she? ABBY: All I have is this phone number.(SFX: TONY DIALS THE CELL PHONE) (PHONE RINGS) TONY: Well, there's no answer. Abby, are you sure that this-(INTO PHONE) Ziva? (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ZIVA: (INTO PHONE) Tell Abby I'm going to kll her. (SCENE CUT) TONY: (INTO PHONE) We love you, too. (SCENE CUT) ZIVA: (INTO PHONE) I'm hanging up now. TONY: (V.O./FILTERED) No, you're not! (SCENE CUT) TONY: (INTO PHONE) You're going to tell me what the hell is going on here. (SCENE CUT) ZIVA: (INTO PHONE) Your phone could be tapped, Tony. TONY: (V.O./FILTERED) Well, then I'll come to you. (SCENE CUT) TONY: (INTO PHONE) I'm also trying to get a hold of Gibbs right now, but I'm not having any luck. ZIVA: (V.O./FILTERED) Gibbs? (SCENE CUT) ZIVA: (INTO PHONE) Why didn't you say so? GIBBS: (INTO PHONE) Dinozzo. (SCENE CUT) GIBBS: (V.O./FILTERED) You have ten seconds to tell me why I am not building .... (SCENE CUT) GIBBS: (INTO PHONE) ... a teak hot tub in Mexico. Nine.... (MUSIC UP AND OUT) MUSIC IN: INT. BASEMENT - DAY ZIVA: Target's name was Abdul Wazir. A Syrian wanted for crimes against the State of Israel. Terminated by this man, Mossad Officer Namir Eschel. My former teammate when I was stationed in Paris. GIBBS: Who's supposed to be dad. ZIVA: Apparently he's gotten better. GIBBS: Being dad makes for a good cover. ZIVA: I would agree, but my father claims to have no knowledge of his activities. GIBBS: I'd believe him. How many times do I have to tell you, I don't believe -- (DOOR OPENS) ZIVA: In coincidences? I know. TONY: Lucky for you, neither do I. According to the F.B.I., I should be the one aiming my wapon at you. GIBBS: You were set up. The only Mossad liaison officer in D.C.... TONY: Just happens to be present during a Metsada-style ht. (INTERCUT FLASHBACK SCENE OF bmb) ZIVA: Oh, God. I'm an idiot. He led me to the scene. Eschel framed me. (CURSES IN HEBREW) Filthy rotting pig! GIBBS: Yeah, but the question is, why? TONY: I thought you might be needing this. Uh... I meant the NCIS cell phone. That's my coffee, Boss. GIBBS: Do I still look like your boss? TONY: Uh... well, maybe if you shaved. And a haircut wouldn't hurt. The smile thing's definitely throwing me off, too. GIBBS: (OVERLAP) It's good... it's good to see you again, McGee. TONY: Dinozzo. GIBBS: What'd I say? ZIVA: You called him McGee. GIBBS: Oh, that's probably because if I left him in charge, you wouldn't be on the F.B.I.'s ten most wanted list right now. TONY: Hm... but you do remember? GIBBS: That I left you in charge? Yeah, I remember I left you in charge, Dinozzo. What I forgot is your taste in coffee. It stinks! TONY: I like sugar. It's my weakness. What's our plan? ZIVA: Things are bad enough for NCIS as it is, Tony. You can't-- TONY: I don't remember asking your opinion, Officer David! ZIVA: You see? He's been completely insufferable since you left. GIBBS: Is that true, Tony? TONY: When I need to be. GIBBS: Yeah? Hm... maybe you were the right man for the job. Our plan is to find this guy before he gets out of the country. MUSICAL BRIDGE TO: INT. LAB - DAY MCGEE: (V.O.) How do we put out a BOLO without the (ON CAMERA) F.B.I. finding out about it? TONY ON TAPE: (RECORDED VOICE) I knew you'd ask me that, McGee. TONY: See? I knew you'd ask me that, McGee. MCGEE: And? TONY: And I ... I don't know. Any suggestions? ABBY: We could tell the F.B.I. about Eschel and let them track him down. TONY: When they ask how we know about him? ABBY: They'll know we talked to Ziva. (SFX: FLATULENCE) TONY: McGee! MCGEE: Tony, what if we lie? TONY: Sacks is a self-centered egotistical jack hole, but he's not an idiot. He'll know. MCGEE: No, I mean lie on the BOLO. Instead of looking for a rogue Mossad spy wanted for mrder, we put out a BOLO for a wife-beater.(SFX: KEYBOARDING B.G.) TONY: That's underhanded, devious... ABBY: And it's completely getting me hot. TONY: I'm glad to see I'm finally rubbing off on him. TONY ON TAPE: (RECORDED VOICE) Do it! (SFX: FLATULENCE) MUSICAL BRIDGE TO: INT. PICK UP TRUCK - DAY ZIVA: It's one of our own safe houses. We park on a dirt access road two hundred meters behind it and enter from the back. GIBBS: You know he's not going to be here. That's the first place Mossad's gonna try to reacquire him. ZIVA: Mossad does not know about this particular one. I set this one up for Ari. GIBBS: How's Eschel know about it? ZIVA: When Ari infiltrated NCIS three years ago, Eschel was part of his recovery team. GIBBS: An F.B.I. agent was klled then, too. Let's get this over with. I've got a beach in Mexico waiting for me. (SFX: TRUCK STARTS/DRIVES O.S.) CUT TO: INT. SAFE HOUSE - DAY (DOOR OPENS) ZIVA: (SHOUTS) Move or we sht! Clear! GIBBS: He's dad. Rigor mortis has already set in. ZIVA: How do you know he's not faking it? GIBBS: Well, sh*t him if you don't believe me. Better hope that's not Eschel. ZIVA: Why? You want to kll him yourself now? GIBBS: Uh-huh. But I won't. Neither will you. We capture him alive. We kll him, there's no way to prove you weren't involved with the ht. He look familiar? ZIVA: He's not Mossad. Eschel is obviously trying to tie up his loose ends. GIBBS: Yeah. Well, that's what you were. Spread out, and start looking around. ZIVA: What for, exactly? GIBBS: Anything that'll help us find out where he went. ZIVA: Right.(DOOR OPENS) MUSICAL BRIDGE TO: FAATIN AMAL: She looks a bit like her brother, don't you think? ESCHEL: More like her father. FAATIN AMAL: Who is the man? ESCHEL: Someone who shouldn't be with her. Retired Special Agent Leroy Jethro Gibbs. (SFX: ESCHEL DIALS THE CELL PHONE) MUSICAL BRIDGE TO: INT. NCIS SQUAD ROOM - DAY (PHONE RINGS) SACKS: (INTO PHONE) Sacks. Who is this? How do I know this is legit? (TO AGENTS) I've got a tip, guys. House in Fairfax. MUSICAL BRIDGE TO: INT. SAFEHOUSE - DAY (MUSIC OVER ACTION/GIBBS AND ZIVA LOOK THROUGH THE CUPBOARDS) GIBBS: There's nothing here. ZIVA: Eschel was always good at covering up his tracks. (bat) What is it? CUT TO: INT. HOTEL ROOM - DAY ESCHEL: (V.O./IN HEBREW) How the hell? (V.O./IN ENGLISH) He's made us! FAATIN AMAL: Impossible! I placed that camera myself! CUT TO: INT. SAFE HOUSE - DAY (MUSIC OVER ACTION/GIBBS SEARCHES FOR THE HIDDEN CAMERA) CUT TO: INT. HOTEL ROOM - DAY (SFX: COMPUTER BEEP TONES) FAATIN AMAL: We need to detonate now. ESCHEL: No, we wait for the F.B.I., Faatin. It must look like Ziva klled herself, instead of surrendering. FAATIN AMAL: If she leaves before they get there, Namir? ESCHEL: I will delay her. (SFX: TELEPHONE BEEP TONES) CUT TO: INT. SAFE HOUSE - DAY GIBBS: He was watching us. ZIVA: It could have been left from when Ari was here. (PHONE RINGS) ZIVA: He was watching us. GIBBS: (INTO PHONE) What?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ESCHEL: (INTO PHONE) I heard you retired. (SCENE CUT) GIBBS: (INTO PHONE) Yeah. I heard you were dad. (SCENE CUT) ESCHEL: (INTO PHONE) To the Mossad, I am. GIBBS: (V.O./FILTERED) They know you're live now. (SCENE CUT) GIBBS: (INTO PHONE) I plan on fixing that. ESCHEL: (V.O./FILTERED) Poor Director David. (SCENE CUT) ESCHEL: (INTO PHONE) First his son's a traitor, and now his daughter... (SCENE CUT) ESCHEL: (V.O./FILTERED) ... By this time tomorrow, he'll be working in a kibbutz! (SCENE CUT) ESCHEL: (INTO PHONE) Unless, of course, he kills himself first. (SCENE CUT) ESCHEL: (V.O./FILTERED) Is it true? (SCENE CUT) ESCHEL: (INTO PHONE) Did you kll Ari Haswari?(END TELEPHONE INTERCUTS) CUT TO: INT. SAFE HOUSE - DAY ZIVA: He's delaying us. GIBBS: Why? ZIVA: I'm his loose end, remember? GIBBS: He called the F.B.I. ZIVA: That's not what I'm worried about. When our safe house was compromised in Paris, Eschel blew it up! CUT TO: EXT. SAFE HOUSE - DAY (SFX: CAR BRAKES TO A STOP) (MUSIC OVER ACTION/AGENTS ALL RUN TOWARD THE FRONT DOOR) CUT TO: INT. HOTEL ROOM - DAY ESCHEL: (V.O.) Shalom, Ziva. CUT TO: EXT. SAFE HOUSE - DAY (SFX: SAFE HOUSE EXPLODES) (MUSIC OUT) MUSIC IN: INT. NCIS SQUAD ROOM - NIGHT SACKS: We're still not sure what the hell happened, Dinozzo. Or if she was even in there when then place blew up. TONY: Bodies? SACKS: No, it was incinerated. We won't even be able to process the scene until at least tomorrow. TONY: What makes you think she was there? SACKS: A tip. TONY: From who? SACKS: Anonymous. My guess is probably somebody inside Mossad trying to make nice. TONY: Someone tying up loose ends. SACKS: For all we know she blew up the place to cover her own tracks. TONY: She was only looking for the guy who set her up. SACKS: You mind telling me how you know that? TONY: Because that's what I'd do.(ELEVATOR DINGS/ DOORS SLIDE CLOSED) TONY: Not good, Ducky. DUCKY: You did manage to call them, didn't you? TONY: I got Gibbs' voice mail. I don't think he ever learned how to use it. DUCKY: And the number Abby has for Ziva? TONY: Not picking up. DUCKY: Then there's only one thing for you to do. TONY: I know! Let the Director know they're probably dad and resign for disobeying a direct order. DUCKY: You'll do nothing of the sort, Anthony Dinozzo. TONY: And why is that? DUCKY: Because the man who did that is still out there. And I'll be damned if we let him get away with it! TONY: What would Gibbs do, right? I've got a bulletin for you, Ducky. I am not Gibbs. DUCKY: No, you're not. Gibbs quit. You're still here. TONY: Why wasn't I with Ziva? I turned over my responsibility to him without even thinking about it. DUCKY: Gibbs is one of the most capable ag-- TONY: Was, Ducky! You didn't see him. I mean, he didn't even look like Gibbs. I think he went native down there. DUCKY: Uh, Tony? TONY: His hair is all long and crazy looking. And he's got this scraggly beard. He looks like a pirate or something. His eyes are all bloodshot, probably from drinking hooch from morning to night with Franks. GIBBS: They call it a "redeye" for a reason... the flight I was on all night to get here. TONY: Oh, geez! You're all right! Good. All right. Thank god. GIBBS: Yeah, thank Ziva. Already been blown up twice, Tony. Don't think I got a third one in me. Space seventy-three. Presents in the back for Autopsy and Abby. Don't be seen. Hey, Duck! DUCKY: Welcome home, Jethro. GIBBS: Oh, you got the wrong guy. I'm just visiting. You might want to tell Palmer it's going to be a late night. CUT TO: INT. SHEPARD'S OFFICE - NIGHT (DOOR OPENS/ CLOSES) GIBBS: I really miss that view. Harbor isn't bad, either. SHEPARD: I had a feeling I'd be seeing you soon, Jethro. How is she? GIBBS: She's scared. Not that she'll ever admit that. SHEPARD: NCIS can't help her. GIBBS: Well see, that's why I'm here. I'm not NCIS. I retired. Remember? SHEPARD: I shouldn't even be talking to you. GIBBS: Anyone asks, just tell them two old partners catching up. SHEPARD: My agency has been harboring a foreign operative for over a year, one that I personally vouched for and insisted we needed. GIBBS: She didn't do it. SHEPARD: You think I don't know that? I'm just telling you what they're saying all over the Beltway. I give it twenty-four hours before they ask for my resignation. GIBBS: Don't give it to them. She was set up. SHEPARD: By whom? GIBBS: A former Mossad officer. Claims it was to get back at Ziva's father. SHEPARD: What do you think? GIBBS: My gut says it was more than that. SHEPARD: I agree. This is bigger than the director level of NCIS or Mossad. This incident could jeopardize relations between both of our countries for years. GIBBS: I figure someone hired him to do just that. SHEPARD: Well, I could think of ten countries and a dozen trror1st groups that fit that bill. GIBBS: Oh, yeah. I can, too. Which is why I want you to do me a favor. SHEPARD: Name it. GIBBS: It's late. Go home. Catch up on some sleep. SHEPARD: Plausible deniability. GIBBS: Yeah. Something like that. Thank you. SHEPARD: Jethro, it's good-- GIBBS: I'm not back, Jen. I'm just doing a favor for a friend. SHEPARD: I was just talking about your hair. It's good to see it long again. It reminds me of when we were undercover in Serbia. GIBBS: Serbia? SHEPARD: Do you remember that little farmhouse we were holed up in? A whole week with nothing to do but -- GIBBS: No. No, I don't, Jen. Memory is a little fuzzy on some things. (DOOR OPENS/ CLOSES) MUSICAL BRIDGE TO: INT. BASEMENT - NIGHT (MUSIC OVER ACTION/ZIVA WAITS IN GIBBS' BASEMENT) CUT TO: INT. LAB - NIGHT MCGEE: We matched the dad guy's prints. Balash Sassanid. Arrested five years ago for reckless driving. An illegal from Iran. Student visa expired last year, Boss.(SFX: KEYBOARDING B.G.) TONY AND GIBBS: (IN UNISON) Good job, McGee. GIBBS: What about the cell phone Eschel called us on, Abs? ABBY: I isolated the grid the call came in on. TONY: Nice work, Abs. ABBY: Actually, no, Tony. The grid includes the entire city of Woodbridge, Virginia. He could be anywhere in it. GIBBS: Great. We've got nothing. TONY: Well, an ex-Mossad officer working with an Iranian student is something, Gibbs. GIBBS: Not if it doesn't help us find Eschel in time. TONY: McGee, the BOLO we put out yesterday. Any hits? You completely forgot about that, didn't you? MCGEE: This one's on me, Boss. We have multiple hits. Six hits on men fitting his general description. Three in Delaware, one in Pennsylvania, two in Virginia. Closest match. A local cop saw a man fitting his exact profile at a Freemont Inn. GIBBS AND TONY: (IN UNISON) Where, McGee? MCGEE: Woodbridge, Virginia. MUSICAL BRIDGE TO: INT. NCIS SQUAD ROOM - DAY TONY: (V.O.) I'm telling you, Gibbs, (ON CAMERA) don't call her. She won't wait for us.(SFX: CELL PHONE TOUCH TONES) GIBBS: She will if I tell her to.(BEGIN TELEPHONE INTERCUTS) CUT TO: INT. BASEMENT - DAY (SFX: PHONE RINGS) ZIVA: (INTO PHONE) You found him? (SCENE CUT) GIBBS: (INTO PHONE) The Freemont Inn in Woodbridge. I'll swing by and pick you up. ZIVA: (V.O./FILTERED) There's no time.... (SCENE CUT) ZIVA: (INTO PHONE) Gibbs! He won't stay in one place for more than twenty-four hours. I'll meet you there. GIBBS: (V.O./FILTERED) Ziva.... (SCENE CUT) GIBBS: (INTO PHONE) This isn't a debate. (SCENE CUT) GIBBS: (V.O./FILTERED) We go in together or we don't go-- (ZIVA HANGS UP THE CONNECTION) (END TELEPHONE INTERCUTS) TONY: Let me guess. She's going without us? GIBBS: If she kills him, there won't be any way to prove the Israelis weren't behind this. TONY: Yeah, I know. Let's roll. Hey! Hey! No. This is my team now, Gibbs. My rules. And Dinozzo's rule one? I don't sit on the sidelines when my people are in trouble. You got a problem with that, let's remember who's got the badge and who's the civilian. GIBBS: You done? TONY: Yeah. (SFX: GIBBS HITS TONY) GIBBS: I was going to say get McGee. I'll meet you there. TONY: You know, I could arrest you for striking a Federal officer. GIBBS: I know that. TONY: All right. Just so you know.(ELEVATOR DINGS/ DOORS SLIDE CLOSED) CUT TO: INT. HOTEL ROOM - DAY ESCHEL: I trust the rest of my money will be wired to my account shortly? FAATIN AMAL: Of course. Would you mind? Careful, it's delicate. (SFX: MUFFLED gn) (SFX: ESCHEL GASPS IN PAIN) FAATIN AMAL: I'm sorry, but no one can know my country was behind this, Eschel. And with you gone, no one will.(FAATIN AMAL SMOTHERS ESCHEL) (DOOR OPENS) (MUSIC OVER ACTION/ZIVA WALKS THROUGH THE ROOM) (SFX: gn) (SFX: EMPTY CHAMBER CLICKS) (MUSIC OVER ACTION/ZIVA AND FAATIN AMAL FIGHTING) ZIVA: Who hired you? FAATIN AMAL: Mossad. ZIVA: Liar! Who?! FAATIN AMAL: Go on, do it! You'll never make me talk. ZIVA: I believe you. FAATIN AMAL: Then kll me, make your daddy proud, Jew! (SFX: ZIVA THROWS HER Knfe INTO THE WALL) FAATIN AMAL: (SHOUTS) What are you doing!? ZIVA: Not making you a martyr. You're under arrest. FAATIN AMAL: Your time with the Americans has made you soft. You should not have thrown your Knfe away. (SFX: ZIVA AND FAATIN AMAL CONTINUE FIGHTING) FAATIN AMAL: Get up! (SFX: ZIVA AND FAATIN AMAL CONTINUE FIGHTING) FAATIN AMAL: Not so tough now, are you?(SFX: FAATIN AMAL SPITS ON ZIVA) (SFX: ZIVA MOANS) CUT TO: EXT. HOTEL - DAY (MUSIC OVER ACTION/TRUCK BRAKES TO A STOP) CUT TO: INT. HOTEL ROOM - DAY FAATIN AMAL: I thought I told you to... (SHOUTS) get up! (SFX: ZIVA MOANS) ZIVA: Who are you? FAATIN AMAL: VEVAK. ZIVA: Iranian Intelligence? FAATIN AMAL: Yes. And you have our thanks. The Americans will never trust your country again. (SFX: ZIVA LAUGHS) ZIVA: It was easier than I thought. Making you talk. (SFX: ZIVA AND FAATIN AMAL CONTINUE FIGHTING) (DOOR OPENS) MCGEE: Ziva, are you okay? ZIVA: I'm okay, McGee. GIBBS: You should have waited. TONY: Who is she? ZIVA: Iranian Intelligence. They were behind it all. GIBBS: How do you plan on proving that? ZIVA: I've been with NCIS for a year. I'm not just a kller anymore. I'm an investigator. Now can I go home? REPORTER: (V.O.) The F.B.I. reports they've apprehended the Iranian... CUT TO: INT. SHEPARD'S OFFICE - DAY REPORTER: (ON TV) .... trror1st believed to be responsible for the death of two of their agents. Two other trrorists were also klled in a standoff with Federal authorities in Northern Virginia. (REPORTER CONTINUES B.G.) TONY: Federal authorities? They mean us! Four stinkin' letters. N.C.I.S. SHEPARD: It's either that story, Tony, or the F.B.I. charges you with interfering in their investigation. TONY: I can live with Federal authorities. SHEPARD: Welcome home, Ziva! ZIVA: Well, I wouldn't be here if it wasn't for Gibbs. TONY: And me. ZIVA: True. But mostly Gibbs. SHEPARD: Speaking of which...? TONY: He's in the squad room. CUT TO: INT. NCIS SQUAD ROOM - DAY SHEPARD: Where is he, McGee? Abby's lab? MCGEE: Gibbs left, Ma'am. Said he had a plane to catch. TONY: Are you sure about that, McGee? MCGEE: Yeah, Tony. I'm sure. TONY: No - because he didn't even say goodbye to me! MCGEE: Director, he wanted me to give this to you. TONY: Oh, nice snap. Where was that taken? SHEPARD: Serbia. ZIVA: When? SHEPARD: A lifetime ago, Ziva. (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x01 - Shalom"}	foreverdreaming
MUSIC IN: INT. MALL/CHILDREN'S SALON - DAY (MUSIC OVER SCENES OF GIRLS AND MOTHERS) PAULSON: Hey. EMILY: Hi. PAULSON: Try that one. EMILY: Okay. FORNELL: Emily! EMILY: Yes? FORNELL: Come here! EMILY: They haven't called our number yet. FORNELL: I know. PAULSON: Relax, Agent Fornell. She's fine. FORNELL: I didn't expect to see you again until... twenty-sixty-seven. PAULSON: Got a reprieve. You're not going to use that in front of your daughter. FORNELL: I don't need a gn to take you down. PAULSON: You wouldn't hurt an innocent man. FORNELL: I'm not looking at one. PAULSON: That's where you and Agent Gibbs got it wrong. FORNELL: Agent Gibbs is retired. PAULSON: I know. Why do you think I'm talking to you? FORNELL: I have no idea. Why don't you enlighten me? PAULSON: I told you. You got the wrong guy. And if there's a shred of decency in you, and brains, you'll reopen my case and find the right one. Now, I'm going to walk out of here. You'll want to follow. But you'll realize something... and end up just reaching for that cell instead. FORNELL: Really? PAULSON: Yeah. FORNELL: Why's that? PAULSON: I might not be alone. (TO EMILY) See you, sweetie. EMILY: 'Bye! (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: EXT. HOUSE - DAY "ESCAPED" MUSICAL BRIDGE TO: INT. BASEMENT - DAY (MUSIC OVER ACTION/GIBBS LOOKS THROUGH STORAGE BOXES/ PHOTOS) MARNY: (V.O.) The basement needs some work. But if it doesn't shout (ON CAMERA) wine seller, I don't know what does. Have a look and I'll be right back. GIBBS: First my wife, now my house? FORNELL: No! No, I learned my lesson. I'm through with your leftovers. You're going to need a bigger box for that boat. GIBBS: You come all the way out here to give me packing tips, Tobias? FORNELL: Actually, I came to tell you that Petty Officer Derrick Paulson escaped from prison yesterday. GIBBS: (bat) No! FORNELL: I haven't asked you anything yet. You caught him last time. Figured you might like to catch him again. GIBBS: You thought wrong. FORNELL: He came to see me, Jethro, when I was with Emily. GIBBS: Is she okay? FORNELL: For now. He just wanted to tell me that I got the wrong man, then strongly suggested that I reopen his case to prove it. GIBBS: He's risking a lot for something he knows can't happen. FORNELL: You think? I don't know what his game is, but I'm not going to get a good night's sleep until that S.O.B. is back behind bars. GIBBS: You don't need me to find him. FORNELL: Need? (ANGRILY) A convicted kller was two inches from my daughter! Handing her crayons! He touched her! We're way beyond need, Jethro! (bat) Nice tan. MUSICAL BRIDGE TO: INT. NCIS SQUAD ROOM - DAY ZIVA: It's really not that bad, McGee. MCGEE: For a spy you're a horrible liar. LEE: Ziva's right. You can hardly notice. But... MCGEE: But? LEE: I wouldn't let Agent DiNozzo see it if I were you. TONY: Let Agent DiNozzo see what? MCGEE: (MUMBLES) Nothing. TONY: Why are you mumbling, McGee? MCGEE: (MUMBLES) I'm not mumbling. TONY: Well, you either just said "mimes aren't rumbling" or "I'm not mumbling." And I don't see any mimes. Agent Lee, why is Agent McGee mumbling? LEE: He over-bleached his teeth, Sir. Apparently he fell asleep while wearing his bleaching tray, Sir. TONY: You don't watch Friends, do you? Same thing happened to Ross. You could have learned from our friend's mistake. But you chose to read instead! Let me see the damage. MCGEE: (MUMBLES) No. TONY: As team leader, people, I need to be aware of any condition that might affect an agent's ability to perform his or her duties. ZIVA: And what does having embarrassingly white teeth have to do with performing his duties? MCGEE: You said it was not that bad! TONY: She lied! Open up your mouth. MCGEE: (MUMBLES) No. TONY: Let me see the Chiclets. MCGEE: (MUMBLES) No. TONY: Let me see them. MCGEE: (MUMBLES) No. TONY: Open your - Gibbs! MCGEE: What is...? TONY: I have no idea. (MUSIC OVER ACTION/GIBBS QUICKLY WALKS UPSTAIRS) CUT TO: INT. SHEPARD'S OUTER OFFICE CYNTHIA: Agent Gibbs! I'm - Mister.... CUT TO: INT. SHEPARD'S OFFICE - DAY (DOOR OPENS/ CLOSES) SHEPARD: Just as I was getting used to my door being treated as a door. (INTO PHONE) I'll call you back, Todd. GIBBS: I need a temporary reinstatement. SHEPARD: I assume you're here because of ex-Petty Officer Derrick Paulson? I read Agent Fornell's report. Why the sudden, if temporary, interest in bank robbers? GIBBS: If you've read Fornell's report, Jen, then you already know. We're wasting time. SHEPARD: It's not that simple, Jethro. You left. I appreciate what you did for Ziva, but this is not some gym membership that you can turn on and off. GIBBS: No, I can't. But I'm not Director of NCIS. SHEPARD: And the Director of NCIS already filed your retirement package with NAVY Human Resources. GIBBS: Unfile it. SHEPARD: It doesn't work that way, Jethro! It would take weeks to reinstate you! And that's even if you manage to pass your -- GIBBS: My Psych Evaluation? Or are you talking about my Firearms Proficiency Exam? SHEPARD: No. That one I'm not worried about. (bat) Wait! (LONG bat) Let me at least ... validate your parking. (SFX: DRAWER OPENS) SHEPARD: (GASPS) That's strange! I could have sworn I filed this! Your retirement package! I must have accidentally put in for your unused leave time instead. Of which, it seems, there are six days left until it has to be filed. MUSICAL BRIDGE TO: INT. NCIS SQUAD ROOM - DAY TONY: Come on, don't tell me you don't eavesdrop, Cynthia. Every director's assistant eavesdrops. ZIVA: (OVERLAP) He's coming! He's coming! TONY: Hey, Gibbs. Just visiting the neighborhood, or... taking your desk back? TONY: Let's go. (PHONE RINGS) GIBBS: (INTO PHONE) You should have been here half an hour ago.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) FORNELL: (INTO PHONE) Yeah, I'm just getting Emily settled... (SCENE CUT) FORNELL: (V.O./FILTERED) ...at my mom's place. GIBBS: (INTO PHONE) You want me to send an agent over? (SCENE CUT) FORNELL: (INTO PHONE) How many can you spare? (CAMERA ANGLE ON TONY) TONY: Okay, I've got an idea. Maybe he lost his memory again, and forgot he quit his job. MCGEE: Wouldn't he be sitting at his old desk then? ZIVA: If Gibbs wanted us to know what he was doing, he would have told us. TONY: Oh, right! Because he would never expect us to figure out for ourselves! (ELEVATOR DINGS/ DOORS OPEN) SHEPARD: (V.O.) Gibbs is back (ON CAMERA) on temporary assignment. The Paulson case. ZIVA: Paulson? TONY: Petty Officer Derrick Paulson. Knocked over a bank. klled two of his accomplices. Money was never found. GIBBS: (INTO PHONE) Paulson's prison cell. I want to see what was in it. FORNELL: (V.O./FILTERED) Already had the contents sent over. Maybe your techs can find something mine couldn't. (SCENE CUT) EMILY: 'Bye, Daddy! FORNELL: (INTO PHONE) I'm worried. GIBBS: (V.O./FILTERED) She'll be fine, Tobias. (SCENE CUT) GIBBS: (INTO PHONE) Paulson isn't after her. (SCENE CUT) GIBBS: (INTO PHONE) I ruined his life, Jethro. We don't know what he's after. (END TELEPHONE INTERCUTS) CUT TO: INT. ABBY'S LAB - DAY GIBBS: Anything good? ABBY: Yeah. It's a jail-house appeal from some escaped convict. The guy really knows his forensics. (bat) (GASPS) I knew it! I knew it! I won't need these anymore now that you're actually here! I knew you'd come back! GIBBS: I'm not back. ABBY: Of course you're back. I can feel your badge. It is your badge, right? You are back. GIBBS: Reinstatement's only temporary, Abs. Until I can find Paulson. ABBY: We'll see about that. So what can I do for you, Temporarily-Reinstated Agent Gibbs? GIBBS: Process the contents of Paulson's cell. ABBY: What am I looking for? Oh, right! Anything to help you find him. GIBBS: I want to know what he was up to before he escaped. Unless the three of you have any other suggestions? CUT TO: INT. NCIS SQUAD ROOM - DAY TONY: Uh... hey! We were... we were just eavesdropping like little girls. But we do have suggestions. CUT TO: INT. ABBY'S LAB - DAY ZIVA: (V.O./FILTERED) Prison records show ... CUT TO: INT. NCIS SQUAD ROOM - DAY ZIVA: .... that only one person ever came to visit Paulson in jail. MCGEE: Mickey Stokes. Seventy-two. Former Navy Sailor. ZIVA: And since Paulson has no family, we should assume that he'll try to contact Mickey. TONY: And I already have an address. CUT TO: INT. ABBY'S LAB - DAY GIBBS: Tony, Ziva, you're with me. CUT TO: INT. NCIS SQUAD ROOM - DAY TONY: McGee, stay here and-- GIBBS: (V.O./FILTERED) Stay here and help Abby. TONY: Help Abby....process Paulson's belongings. CUT TO: INT. ABBY'S LAB - DAY GIBBS: Then gargle this before the rest of us go snow-blind. MUSICAL BRIDGE TO: EXT. MICKEY'S HOUSE - DAY (SFX: CAR BRAKES TO A STOP) (SFX: CAR DOORS OPEN/CLOSE) TONY: Gibbs seemed awfully quiet in the car. ZIVA: Well, it's not like you were giving him a chance to talk, Tony. Are you nervous he's going to want his old job back? TONY: No, I'm just bringing him up to speed on the latest protocols. (DOOR OPENS) MICKEY: What took you hot-shts so long? He's been waiting over an hour! Hey, shoes off! (MUSIC OVER ACTION/ALL MOVE INTO THE HOUSE) TONY: Clear! ZIVA: Clear! GIBBS: Where is he? MICKEY: Well, I never said he was here. GIBBS: (INTO PHONE) Gibbs.(BEGIN TELEPHONE INTERCUTS) PAULSON: (V.O./FILTERED) I didn't expect to hear... (SCENE CUT) PAULSON: (INTO PHONE) ...your voice. I heard you quit. (SCENE CUT) GIBBS: (INTO PHONE) Retired. PAULSON: (V.O./FILTERED) Ha ha. At your age? (SCENE CUT) PAULSON: (INTO PHONE) That's quitting. GIBBS: (V.O./FILTERED) Why don't you... (SCENE CUT) GIBBS: ...turn yourself in? You can tell me about this in person. (SCENE CUT) PAULSON: (INTO PHONE) Turn myself in for what? I'm an innocent man. (SCENE CUT) GIBBS: (INTO PHONE) Try broken record. PAULSON: (V.O./FILTERED) So you're... (SCENE CUT) PAULSON: (INTO PHONE) ...not going to reopen my case? GIBBS: (V.O./FILTERED) We both know what I'll... (SCENE CUT) GIBBS: (INTO PHONE) ... find if I do. So why don't you tell me what you really want? (SCENE CUT) PAULSON: (INTO PHONE) I already got it, Agent Gibbs. (END TELEPHONE INTERCUTS) CUT TO: INT. HOUSE - DAY TONY: So what does he really want? GIBBS: Our car. (MUSIC UP AND OUT) MUSIC IN: INT. HOUSE - DAY ZIVA: They appear to be close. TONY: Well, they say a way to a man's heart is through his stomach. Meals on Wheels. Looks like Paulson was a volunteer. ZIVA: He volunteered to put... meals on wheels? TONY: They bring food to the elderly, Ziva. (PASSAGE OF TIME) MICKEY: Of course I helped him! Derrick was like a son to me. I was the closest thing he had to family. What would you do if it was your kid in trouble? FORNELL: I would have told him to give himself up before he got hurt. MICKEY: Well, I'm glad you ain't my old man, Fornell. Shoes off!! FORNELL: And I certainly wouldn't let him steal my car. GIBBS: Didn't. It was Dinozzo's car. MICKEY: He just wants you to re-open his case! You been reading my letters the past four years? You bozos got the wrong guy. FORNELL: Paulson took advantage of you, Mickey. He only brought you food because you lived near the bank he was casing. GIBBS: You wasted your life savings defending the wrong guy. MICKEY: Hey, not my computer! I've got an online date tonight! FORNELL: Where is he, Mickey? GIBBS: He doesn't know. FORNELL: Are you sure? Want to ht him for aiding and abetting? GIBBS: He did shelter Paulson and gave him money. TONY: I say we use him as bait. Give Mickey a pass, put a man on him in case Paulson comes back. GIBBS: You're the boss. (PHONE RINGS) TONY: (INTO PHONE) Yeah. Where? Anything in it? (SFX: MUFFLED VOICE B.G.) (SFX: HANGS UP PHONE) TONY: (TO GIBBS) D.C. Metro just found our car half a mile from here. The only thing missing was my laptop. GIBBS: And every file we had on Paulson. MICKEY: I told you! He just... he just wants to work on his case. FORNELL: Except he's had all his case files since the trial. ZIVA: Perhaps ours have something his didn't. GIBBS: They do. TONY: The addresses of the witnesses who testified against him. MICKEY: He's not a thrat to anyone! He's on the run and unarmed. ZIVA: Do you keep any wapon in the house? MICKEY: Oh, great. Now you're going to pin another crime on him? Just my old Colt. FORNELL: Where is it? CUT TO: INT. ABBY'S LAB - DAY LEE: Paulson could be after any one of a half-dozen witnesses. I've never seen a convicted felon file so many appeals. It's an abuse of the system. ABBY: We're all entitled to our day in court. LEE: Not according to Agent Gibbs. I've been going over his case files. He seems to prefer a more... Biblical approach to things. If you ask me, the agency is better off without him. (ABBY SLAMS THE BOOK ON THE COUNTER) LEE: Oh! ABBY: I like you, Michelle. So I'm just going to pretend like you didn't say that! NCIS is lucky to have Gibbs back! LEE: Except he's not staying. ABBY: You do realize-- LEE: You can kll me without leaving any forensic evidence behind? Yeah. You mentioned that. ABBY: Good then. It's settled. Gibbs is staying. He has to. Right, Gibbs? GIBBS: What do you got for me, Abby? ABBY: Paulson's fingerprints on the gn case and on Mickey's computer. LEE: And he's also visited over a dozen people search sites. I think he was looking for someone. GIBBS: Yeah, I got that part. ABBY: No names yet, but I'm using the F.B.I.'s mainframe to decrypt the search cache. Well, you always did have really good timing. OLD WOMAN: (ON MONITOR) Mickey! Where the hell is Mickey, you tramp!? ABBY: Mickey isn't here! (TO GIBBS) It's Mickey's online playmate. She keeps tunneling through my firewall. GIBBS: Russell Nash. LEE: Apparently he's... GIBBS: The only accomplice Paulson didn't kll. LEE: Yeah, and the one he really should have. Nash copped a plea and testified against Paulson. Paulson got life, and Nash walked in eighteen months. Skipped out on his parole. Hasn't been seen since. ABBY: Well, if the money was never found, then maybe Paulson is looking for Nash because he thinks Nash has the money. GIBBS: Or maybe Paulson is looking for something a little more... Biblical. CUT TO: INT. NCIS SQUAD ROOM - DAY ZIVA: (INTO PHONE) Thank you. I'll let Agent Gibbs know immediately, and I'll see you Saturday. Okay. (HANGS UP PHONE) MCGEE: Hey, was the F.B.I. able to warn all the witnesses? ZIVA: All except for one. Is this your third Caf-POW!, McGee? MCGEE: It's my fourth. How do they look? ZIVA: Ooh. Maybe you should switch to blueberries. Anything good on our tip hotline? MCGEE: Is there ever? Half our callers don't know what a tip is. CUT TO: INT. STAIRCASE - DAY ZIVA: (V.O./FILTERED) Have you spoken to Gibbs yet? MCGEE: (V.O./FILTERED) What about? ZIVA: (V.O./FILTERED) You're not wondering why he's back? MCGEE: (V.O./FILTERED) To help Fornell. Like he helped you. GIBBS: Taking a little break, Dinozzo? TONY: Oh, I think you know exactly what I'm doing, Agent Gibbs. MCGEE: (V.O./FILTERED) Why do you think he's back? CUT TO: INT. NCIS SQUAD ROOM - DAY ZIVA: I don't know but I'm hoping it's more than just Fornell. Let's just say I'm getting sick of the... CUT TO: INT. STAIRCASE - DAY ZIVA: (V.O./FILTERED) ... campfires. TONY: Showtime. CUT TO: INT. NCIS SQUAD ROOM - DAY MCGEE: I wouldn't let Tony hear you say that. TONY: Say what, Agent McGee? ZIVA: Yeah, I was telling McGee the F.B.I. was able to... TONY: ... warn all the witnesses from Paulson's trial except for one? ZIVA: Right! The only one they couldn't find was-- GIBBS: Russell Nash. TONY: I have much to learn still, Master. Campfire! There you go. (TO GIBBS) It's sort of a new thing I like to do. I find it focuses the group better than just...you know, shouting across the bullpen. Not that there's anything wrong with that. Let's focus on Russell Nash. ZIVA: The inside man. MCGEE: Worked for the bank that Paulson knocked over. ZIVA: Our only missing witness. GIBBS: According to Abby, he's the one Paulson's after. MCGEE: If we find Nash... ABBY: ...we find Paulson. TONY: Campfire over. JIMMY: (V.O.) And the last question. CUT TO: INT. AUTOPSY ROOM - DAY JIMMY: In your own words, the difference between ethics and morals. DUCKY: Well, the ethical man knows he shouldn't cheat on his wife. Whereas the moral man actually wouldn't. (SFX: DOORS SLIDE OPEN/ CLOSED) JIMMY: You're going to ace your oral exams, Doctor. GIBBS: Going back to school? DUCKY: I never stopped. JIMMY: The doctor's getting a degree in forensic psychology. DUCKY: Yes, and with it I'll be able to add the psychological autopsy to my arsenal. I'll not only be able to uncover the "hows" of our patients' demise, but the why's as well. I mean, what motivates us can be a very tricky thing. I was wondering when you were going to come down and see me. GIBBS: I've been busy. DUCKY: Or avoiding me. I wonder why that could be. GIBBS: I'm not staying. DUCKY: Oh, I didn't think you were. I'm aware that when Leroy Jethro Gibbs makes up his mind, his mind's made up. So... why are you here? GIBBS: The Paulson case. How much do you know? DUCKY: Well, I took the liberty of examining the M.E.'s reports on Paulson's two mrder accomplices. GIBBS: Anything bug you? DUCKY: It's about as watertight a case as I've ever seen, pathologically thinking. Why? Do you suspect foul play in the foul play? GIBBS: No. DUCKY: Yet you're down here asking me if anything "bugs you" about the case. Are you getting one of those famous gut instincts again? GIBBS: I've already had that. And it said that Paulson was guilty. DUCKY: When Leroy Jethro Gibbs makes up his mind, his mind's made up. Too bad for Petty Officer Paulson. Let's hope things work out better for you in Mexico. (PHONE RINGS) GIBBS: (INTO PHONE) Uh-huh? TONY: (V.O./FILTERED) No word on the Russell Nash...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) TONY: (INTO PHONE) ...BOLO, but we got something off the top hotline on Paulson. GIBBS: (V.O./FILTERED) What? MCGEE: Paulson. (SCENE CUT) PAULSON: (V.O./FILTERED) Hey, Jethro. So you got a tip hotline to find me, but nothing on... (SCENE CUT) PAULSON: (ON TAPE) ...my original case. Not cool. I'm going to have to do something about that. But for now... (SCENE CUT) PAULSON: (V.O./FILTERED) ... I'm just calling to say thanks for the car. (SCENE CUT) PAULSON: (ON TAPE) I left you a token of my appreciation in return. I'm sure you'll find it soon. (SCENE CUT) TONY: (V.O./FILTERED) Called his own tip hotline. (END TELEPHONE INTERCUTS) CUT TO: INT. NCIS SQUAD ROOM - DAY TONY: I'm starting to like this guy. ZIVA: We're getting an address from the back-trace now. MCGEE: We've got it. It's in the city. Forty-two... CUT TO: INT. AUTOPSY ROOM - DAY MCGEE: (V.O./FILTERED) ...forty-two... GIBBS: (INTO PHONE) ...Adams Boulevard. CUT TO: INT. NCIS SQUAD ROOM - DAY TONY: You been there before, Boss? GIBBS: (V.O./FILTERED) Yeah. CUT TO: INT. AUTOPSY ROOM - DAY GIBBS: (INTO PHONE) That's where Paulson klled his two accomplices. CUT TO: EXT. ALLEY - DAY (MUSIC OVER ACTION/CARS BRAKE TO A STOP) LEE: Is Agent Gibbs aware a warrant hasn't officially come through yet? MCGEE: I think he got it by the fifth time you told him, Lee. FORNELL: Got my teams out front. Any idea what his game is this time? GIBBS: Not a clue. TONY: Okay, McGee, Ziva, fre escape. Lee.... GIBBS: ... watch the cars. CUT TO: INT. HALLWAY - DAY (MUSIC OVER ACTION/AGENTS MOVE DOWN THE HALLWAY) (DOOR CLOSES) TONY: (WHISPERS) Get back! FORNELL: I imagine you'd rather be enjoying a nice drink in a cantina right about now. GIBBS: The thought had crossed my mind. FORNELL: Mine, too. TONY: Any bets on Paulson's token of appreciation? FORNELL: Let's hope it's not Russell Nash's head on a stick. GIBBS: (SHOUTS) Federal agents! CUT TO: INT. HOTEL ROOM - DAY (MUSIC OVER ACTION/CAMERA PANS AROUND THE ROOM) (MUSIC UP AND OUT) MUSIC IN: INT. HOTEL ROOM - DAY ZIVA: It appears ex-Petty Officer Paulson is attempting to highlight the discrepancies in his crime scene. GIBBS: Yeah. I picked up on that. ZIVA: For a guilty man, he's unusually intent on trying to convince us of his innocence. NOTE: SECOND sht IN SECOND VICTIM FROM HERE. FORNELL: Picked up on that, too. NOTE: WHY DIDN'T ANYONE HEAR? ZIVA: No one heard the shting? FORNELL: Well, it's not exactly a Neighborhood Watch kind of place. NOTE: DNA PLANTED UNDER THE FINGERNAILS ZIVA: And the fact that Paulson's DNA was found under this victim's fingernails, but there was no other sign of a struggle? GIBBS: Mm-hmm. See that about a quarter of the time, Ziva. CUT TO: INT. HALLWAY - DAY GIBBS: Why isn't he running? FORNELL: Good question. What's that gut of yours say? GIBBS: Four years ago? That Paulson is guilty. FORNELL: Didn't mean four years ago. GIBBS: Paulson isn't after Nash for the money from the bank job. FORNELL: He's after Nash because Nash is the one man who could exonerate him. So was your gut wrong four years ago? Or is it wrong now? ZIVA: Our job is not to reopen Paulson's case. Just catch him. GIBBS: Paulson's already reopened his case, Ziva. FORNELL: Doesn't matter what our job is, if we want to figure out his next move. GIBBS: Now we have to reopen it, too. FORNELL: He's a smart kid. MUSICAL BRIDGE TO: INT. NCIS SQUAD ROOM - DAY SHEPARD: The public defender who represented Paulson is out on maternity leave. TONY: Prosecutor? ZIVA: Naval reservist. Deployed to Iraq two years ago. MCGEE: klled by an IED last month. LEE: Unless we find someone familiar with the Paulson case, it'll take us days just to catch up to speed, much less anticipate Paulson's next move. SHEPARD: Relax. Gibbs brought in Mickey Stokes. No one knows Paulson better than him. LEE: Is he even a lawyer? TONY: Well, we can't all be lawyers, Agent Lee. (GIBBS WALKS WITH MICKEY THROUGH THE SQUAD ROOM) MICKEY: So what changed your mind about my boy? Great Oz finally give you guys a heart? GIBBS: Who said I changed my mind? MICKEY: It definitely wasn't a brain. GIBBS: If Paulson was framed, we need to find out how. MICKEY: Well, maybe it was a brain. Either way, thank you. I've waited a long time for someone to listen. GIBBS: Don't thank me just yet. Jury had two weeks. They didn't buy it that Paulson was framed. You have one day to convince our forensic scientist otherwise. ABBY: You must be Mickey. MICKEY: Well, I'll be whoever you want me to be! GIBBS: Mickey, you'll do just fine. MICKEY: I like your outfit. ABBY: Thank you. MICKEY: My dog has a collar like that.(ELEVATOR DOORS SLIDE CLOSE) CUT TO: INT. NCIS SQUAD ROOM - DAY TONY: For the sake of argument, let's say that Derrick Paulson was framed. SHEPARD: That makes Russell Nash your prime suspect. TONY: Exactly, Director. Hey, Gibbs! Why don't you come on over and join us for a little campfire. (GIBBS WALKS O.S.) LEE: Where's he going? ZIVA: Basement. MCGEE: Fornell. TONY: Whiskey. SHEPARD: Not tonight. His real estate agent is fumigating his house. Apparently Gibbs got termites. CUT TO: INT. BEDROOM - NIGHT FORNELL: I'd offer you the sofa, but I told Emily you were staying over, she insisted you take her room. Even said you can sleep with her Raspberry Rumtart doll. CUT TO: EXT. CAMPGROUND - FLASHBACK KELLY: Hey, watch! You may now kiss the bride! CUT TO: INT. EMILY'S BEDROOM - NIGHT FORNELL: So it was four wives. Unless there's anything else you want to tell me. GIBBS: Is there something you want to know, Tobias? FORNELL: You had a family, Jethro. I know you like to play it close to the vest, but... hell, I was married to your second wife! GIBBS: I tried to warn you. FORNELL: I know, I know. I didn't listen. If I did, I'd still have a house with a guest bedroom for you. I know it's not our usual stuff. So we screwed up. GIBBS: Wait and see what Abby says. FORNELL: We screwed up. Big time. I'm sure it wasn't the first time. I know it's not going to be the last. GIBBS: My last. FORNELL: At least we could still make it right. GIBBS: (V.O.) If Russell Nash did frame Paulson, he's not going to come clean when Paulson finds him. (ON CAMERA) He's going to kll Paulson. FORNELL: I know it. I said we screwed up, didn't I? It's funny how things work out. When I was a kid, all I ever thought about was being an F.B.I. agent. Now, not a day goes by I don't think about being a kid. I don't pay much attention. The way I figure it, anyone doesn't want to quit this job, isn't doing it right. LEE: (V.O.) My mother will kll me if she sees this. CUT TO: INT. ABBY'S LAB - DAY ABBY: It's a henna tattoo. It'll come off in a few days. MICKEY: It looks good! Of course, I love a girl with tattoos. ABBY: I've noticed. LEE: Can we just get this over with, please? ABBY: Go over there. Okay, could you move around a bit? (SIGHS) All right, how about just walk back and forth? MICKEY: Try... try it with a little attitude. A little attitude. You know, swing the hips. You know. Hey, give her something to dance to! (MUSIC UP) MICKEY: Swing! Swing the pelvis. Like you're walking down the street! Come on, get those shoulders... LEE: (LAUGHING) Mickey, stop! MICKEY: Swing the shoulders? Huh. LEE: Okay, only 'cause it's you, Mickey.(SFX: LEE LAUGHS) MICKEY: Hey! Hey! Hey! (MUSIC OVER ACTION/LEE BUMPS INTO GIBBS) (SFX: LEE GASPS) LEE: This is not what it looks like. (TO ABBY) Abby, please turn the music off now, please? Off? I'm... so... this is what we were doing, Sir. We were working on the pos - we were... ABBY: We were establishing a baseline of henna ink's optical reflectivity. You want to know why? (bat) I'm glad you asked. We were trying to figure out if the evidence was planted to frame Paulson. MICKEY: Yeah, like the DNA they found that could easily have come from some... uh... why is he looking at me like that? ABBY: He's kind of a bottom line guy. LEE: Bottom line, the more Mickey told us, the guiltier Paulson looked. ABBY: Until we looked at video from the bank job. Paulson was identified by his custom tattoo. One of a kind. Unique as a fingerprint, and pretty cool. LEE: With the corroborating evidence, it was more than enough for a jury to convict. GIBBS: Do you think it's a copy? ABBY: That's why we were taking the pictures. It looks like a henna tattoo. LEE: But if Russell Nash had a copy made to frame Paulson... ABBY: ... there would be a color mismatch. GIBBS: Can you prove it? ABBY: Yeah. But we're going to have to see Paulson's original tattoo for the test. MICKEY: He'll never go for that. Not unless he believes you're serious about reopening his case, and he won't believe that until you haul in that bastard Russell Nash. GIBBS: Working on it. LEE: We've got a lead on that, too. ABBY: The F.B.I. has been doing background checks on all of Nash's buddies. LEE: Meet Gary Silverstein, Russell Nash's old roommate. He used to work at a tattoo shop. It could just be a coincidence if - wow! He hates me! CUT TO: EXT. STREET - DAY TONY: No, no, no, no, no, no. Careful, Gary! GARY: I told you to stand five steps back. Insurance reasons. TONY: You can get insurance to be a flipper? GARY: Human directional. TONY: You're a sign, Gary! GARY: Yeah, I'm the future! You know what, man? I brought in an extra ten grand last month to Broadbus Burgers. In a couple years, this is probably going to be an Olympic sport, right?! CUT TO: INT. CAR - PARKED ZIVA: Do you think you could be happy flipping a sign all day? GIBBS: I don't know. ZIVA: I think you'd get bored. CUT TO: EXT. STREET - DAY TONY: You gotta stop doing that. Stop it! GARY: Am I under arrest? TONY: No. GARY: Then no, man. I work by the hour. TONY: Gary, I can think of a lot of ways to arrest you. A lot of them. GARY: All right. What else is there to say? Yeah, I worked at the tat shop. Yes, I lived with Nash. No, I don't know where he is, and I don't know nothing about no bank robbery. That went down after he moved out. All right? Sorry, dude. TONY: Good luck in Beijing in oh-eight, Gary. CUT TO: INT. CAR - PARKED ZIVA: I'm just saying a man of your drive and ambition needs a certain kind of-- GIBBS: I'm not staying, Ziva. ZIVA: That obvious? (DOOR OPENS) ZIVA: So? How'd it go? TONY: I'll tell you in twenty seconds. ABBY: (V.O./FILTERED) He's already making...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: .... a call. MCGEE: Putting it on speaker. NASH: (ON TAPE) Hey, you got Nash. Leave me a message after the beep. TONY: I'd say that went well. GARY: (V.O./FILTERED) Hey, Nash. This is Gary. (SCENE CUT) GARY: (INTO PHONE) I know you told me to call you here never, man, but there were some Feds here and they were asking questions about that.... (SCENE CUT) GARY: (V.O./FILTERED) ....tat. MCGEE: It's a Baltimore prefix. GARY: (V.O./FILTERED) At least I think they were.... (SCENE CUT) GARY: (INTO PHONE) .... Feds. I never heard of no N.C... (SCENE CUT) GARY: (V.O./FILTERED) ...C.I.S. ABBY: Got it. Eighty-two West Pratt. (SCENE CUT) ABBY: (V.O./FILTERED) Street, apartment twelve. TONY: I know it. Forty miles north of here. (END TELEPHONE INTERCUTS) CUT TO: EXT. SIDEWALK - DAY ZIVA: Not bad for rush hour. TONY: Only you could make it forty miles in thirty minutes, Boss. Something's wrong.(STREET SOUNDS B.G. - SIREN B.G.) ZIVA: Maybe Paulson bat us here and found out the hard way that Nash wasn't willing to change his testimony. POLICE: (V.O.) Stay right where you are... stay right there. TONY: It's Nash. (MUSIC UP AND OUT) FADE IN: INT. AUTOPSY ROOM - DAY DUCKY: The end is never pleasant. For this young man, doubly so. TONY: At least he had a great view on the way down. DUCKY: I doubt that he enjoyed it, seeing that his jaw was broken as well as six of his fingers and his ... knee. And all this before he fell. GIBBS: kller bat him first. DUCKY: More like he was interrogated. This damage is too methodical - too calculated to be a simple beating. Whoever did this was after information. And when he got it... he repaid his victim with these. TONY: (V.O.) Guess we can rule out su1c1de. DUCKY: Yes, unless Mister Nash was able to sh*t himself in the back... three times in a row. TONY: Oh, do we have to do this now? ABBY: (V.O./FILTERED) The slugs are Winchester hollow points! Winchester hollow points! (ON MONITOR) Hey Gibbs! Gibbs! Cool, huh? They were fired from the Colt that Baltimore P.D. found near the scene. GIBBS: Abs, did you run the serial number? ABBY: (ON MONITOR) It's the same gn that Paulson took from Mickey Stokes' house. He tried to wipe it, but I found a partial print. DUCKY: So the gentleman who asked us to prove his innocence just klled the one man who could exonerate him. TONY: Nash didn't frame Paulson. They were partners, until Nash double-crossed him. DUCKY: Our ex-Petty Officer didn't want to clear himself. He was looking for the money. ABBY: (ON MONITOR) And he used us to take him straight to the bank. Smart kid. TONY: But if your gut says Paulson's innocent, then maybe we're missing something. GIBBS: The only thing that I am missing right now is happy hour at Carlos' Cantina. (GIBBS WALKS TO THE ELEVATOR) CUT TO: INT. ELEVATOR - DAY (SFX: DOORS SLIDE OPEN/ CLOSED) (GIBBS TURNS OFF THE POWER/ TURNS IT BACK ON) MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY ABBY: (INTO PHONE) You are security, right? Don't let Gibbs leave the building! I already told you why, Tom! GIBBS: Abby? ABBY: (INTO PHONE) Nevermind! False alarm! (TO GIBBS) Gibbs, thank god! I was so sure that you'd be half way to Mexico by now. Sorry. You're a flight risk. GIBBS: Abby! ABBY: We're going to figure out this case, Gibbs! We always do! (bat) You already figured it out. GIBBS: No, but you're going to. I want to know how Paulson knows. ABBY: Knows what? GIBBS: Everything. Everything that we seem to. CUT TO: INT. NCIS SQUAD ROOM - DAY TONY: Russell Nash hid the money from the bank job somewhere. MCGEE: If Paulson gets to it before us... ZIVA: ... he's gone for good. TONY: So where is it? ZIVA: Nash was using an assumed name. All transactions were cash only. MCGEE: Well, it's not in a bank. Storage maybe? ZIVA: A third party could be holding it. TONY: I'll look at properties under an alias. Maybe he hid the money in a mattress somewhere. Campfire over. ZIVA: Where's Gibbs? TONY: I don't know. ZIVA: Is anything wrong? TONY: Uh, well, actually yeah. There's quite a lot wrong, Ziva. Aside from McGee's teeth, we have a dad man who shouldn't be dad. An innocent man who isn't really innocent. And a trail that's about to run cold because our perp has managed to stay one step ahead of us since this whole thing started! GIBBS: Are you just noticing that now, Dinozzo? TONY: No, it's kind of been a theme.(SFX: GIBBS BANGS THE RADIO ON THE DESK) TONY: Careful. That's easy to...break. MUSICAL BRIDGE TO: INT. NCIS SQUAD ROOM - DAY ABBY: It's a shortwave RF bug. Paulson probably planted it in your Dictaphone when he stole your car. And I've been burning campfires to CDE. The Dictaphone has been in my lab pretty much the entire day. TONY: At least now we know how Paulson tracked down Russell Nash. ABBY: There's the little bugger. GIBBS: Can you back track it, Abs? ABBY: It's impossible without a private cipher. But I think I know where we can get one. Paulson's crew bugged the bank's general manager for two weeks before the robbery. It was a custom job, just like this one. The cops interviewed the bug-maker. Cleared him of any involvement. I would bet a Caf-POW! that this came from the same guy. TONY: How can you tell? ABBY: He signed his name. CUT TO: INT. INTERROGATION ROOM STANLEY: "It is a crime for any person acting under color of the law to deprive any citizen of their legal rights." Title Eighteen, U.S. Code. ZIVA: No one is depriving you of your rights. We are simply asking for a copy of the cipher you made! STANLEY: "No one shall be compelled in any criminal case to a witness against himself." That'd be the Fifth Amendment. CUT TO: INT. OBSERVATION ROOM ZIVA: (V.O./FILTERED) No one has accused you of a crime either. STANLEY: (V.O./FILTERED) Then why did your goon confiscate my files? ZIVA: (V.O./FILTERED) Because....(ZIVA CONTINUES B.G.) MCGEE: Goon? TONY: I told you to stop hunching your shoulders. MCGEE: How do you know he wasn't talking about you? TONY: It's called a mirror, McGee. (INTO PHONE) No, I said every exit, not every other exit. For the same reason you don't floss every other tooth. (DOOR OPENS) GIBBS: Where's that cipher, Dinozzo? TONY: We ht a little snafu, Boss. Gibbs. STANLEY: (V.O./FILTERED) Federal Code also states.... CUT TO: INT. INTERROGATION ROOM STANLEY: ... that not only do I have the right to remain silent, but to withhold any information.... (SCENE CUT) INT. INTERROGATION ROOM STANLEY: .... I see fit. TONY: If this keeps up, we may be forced to unleash Agent Lee. (DOOR OPENS) (GIBBS ENTERS THE ROOM) CUT TO: INT. OBSERVATION ROOM MCGEE: Well, this should be quick. TONY: It better be. We've got a fugitive on the run with a pretty big lead. The Fugitive! CUT TO: INT. INTERROGATION ROOM STANLEY: You can stare at me all day, G-man. I ain't talking. GIBBS: You got something to hide? STANLEY: What? So I refuse to talk, and that means I'm guilty? You ever hear of Miranda versus Arizona, nineteen sixty-six? CUT TO: INT. OBSERVATION ROOM TONY: I've been here all this time. How could I have missed it? It's that simple. (DOOR OPENS/ CLOSES) ZIVA: Missed what? TONY: Gibbs is clearly Tommy Lee Jones, right? I mean, there's no argument there. Which makes me Joey Pants. Initially, I was a little, you know... ZIVA: What happened? We've been avoiding the word fugitive for the last two days. MCGEE: He made the connection himself. STANLEY: (V.O./FILTERED) The bottom line, eyeball. CUT TO: INT. INTERROGATION ROOM STANLEY: I run a lawfully licensed spy shop. I'm not responsible for what my clientele does with my product. I don't have to answer any more of your questions, no matter what you say! GIBBS: (LONG bat) I've got this little girl... who wants to go home to her dad. And that's not going to happen without your help. So... please? MUSICAL BRIDGE TO: INT. OBSERVATION ROOM TONY: Did Gibbs just say--? MCGEE: Mm-hmm. CUT TO: INT. INTERROGATION ROOM STANLEY: What did you... what did you want to know again? MUSICAL BRIDGE TO: EXT. YARD - NIGHT MCGEE: Signal's strong. No movement. GIBBS: Got eyes on the target, Ziva? ZIVA: I did. Suspect's in the house, and he's not alone. GIBBS: Are you sure? ZIVA: I heard Paulson's voice. (MUSIC OVER ACTION/ALL MOVE TOWARD THE HOUSE) MICKEY: (V.O./FILTERED) Let me give you some more money in case you need it. PAULSON: (V.O./FILTERED) I won't. TONY: In position, Boss. MICKEY: (V.O./FILTERED) Come here. Take this. MCGEE: gn! GIBBS: Move! Move! MICKEY: (V.O./FILTERED) Please, take it! CUT TO: INT. LIVING ROOM - NIGHT (DOOR OPENS) GIBBS: Hold it! (SHOUTS) Hold it! TONY: Don't do it, Derrick. We will sht you. GIBBS: Tony, McGee, put your wapon down. (TO PAULSON) I was wrong. I know you're innocent, Petty Officer. But you're not, Mickey! Dinozzo! TONY: You're under arrest for the mrder of Russell Nash, his two accomplices in the Greater Virginia bank robbery, and last but not least, the Greater Virginia Bank robbery. MICKEY: Is your porch light on? First you wrongly accused Derrick and now me? TONY: We also found the bug you planted in our forensic tech's lab. ZIVA: We were almost as surprised as you look now when the guy you bought it from pointed you out in that photo instead of Paulson. MICKEY: This is ridiculous. Do I look like I got five million bucks laying around? PAULSON: If he set me up, where's the money? MICKEY: Yeah! They don't know what they're talking about. MCGEE: It's here. It's been here the whole time. It's a Rosewood Bureau Plat desk, nineteenth century. That's thirty eight thousand dollars. First edition Huckleberry Finn, twenty thousand dollars. And it looks like in the bedroom here you've got a Chippendale mahogany case clock. That's six figures, easy. Mickey, you don't collect this stuff on a Navy pension. MICKEY: Whoa! Whoa! Agent Gibbs. GIBBS: Don't talk to me. I think he should sht you. Except he's never been a kller. (TO PAULSON) I don't think you're going to start now. PAULSON: And miss his trial? Not for the world. TONY: You're a real piece of work, Mickey. (MICKEY WALKS O.S.) MCGEE: (bat) Antiques Roadshow. CUT TO: INT. BASEMENT - NIGHT SHEPARD: I just came by to tell you that Derrick Paulson has been cleared of all charges. You saved that boy's life. GIBBS: He did most of the work. SHEPARD: Don't sell yourself short. Or is it too late for that? GIBBS: Is this supposed to be some sort of pep talk to get me to stay, Jen? You don't want me back. SHEPARD: No, I don't. GIBBS: Worried you won't be able to handle me, Director? SHEPARD: No, Jethro. I'm afraid you won't be able to handle yourself. You have already been in two comas. You might not come out of the third. The fact is, you're good. The best. When you're as good at something as you are, when you can make a difference like you can, you just don't quit. (MUSIC OVER ACTION/SHEPARD WALKS UPSTAIRS) CUT TO: INT. NCIS SQUAD ROOM - DAY ZIVA: You know, you used to be a nice person, McGee. MAN: Good morning. ZIVA: I think sitting at Tony's desk is affecting your personality. TONY: For the better. McGee picked up a girl all by himself. ZIVA: Yeah, at a funeral! TONY: You didn't tell me that. MCGEE: Well, you were right, man, because when women are vulnerable...you get right in there... (MUSIC OVER ACTION/CAMERA PANS AROUND THE ROOM) GIBBS: (bat) What? (MUSIC UP AND OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x02 - Escaped"}	foreverdreaming
MUSIC IN: EXT. CAR - MOVING (SFX: MUSIC PLAYS IN CAR B.G.) JENNIFER: Oh, my god. The guy in the SUV is totally checking you out. NIKKI: Really? Is he cute? JENNIFER: Only extremely. NIKKI: Ew! Okay, he's probably gay. He looked totally creeped out by us. JENNIFER: What are you talking about? He's into you. NIKKI: No way! JENNIFER: Yeah, here. Write your number down. Quick, before he gets away! (F/X: SULLIVAN PEERS OUT THE REAR WINDOW/ SILENTLY SCREAMING) NIKKI: Oh, my god! (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SHEPARD'S OFFICE - DAY "SINGLED OUT" SHEPARD: Is there a reason you're touching my flowers, Tony? TONY: I was just admiring them, Jenny. Flowers are a passion of mine. SHEPARD: Really? So then you'd know how rare and expensive they are. TONY: Oh yeah. SHEPARD: And their name. TONY: Of course. Um, well, judging by the color and of course the green things they're attached to... SHEPARD: Stems. TONY: Stems. Uh, these... are right on the tip of my tongue. SHEPARD: Phaleonopsis orchids. TONY: Orchids. Of course, they're orchids. This flipped out when I was sniffing them. SHEPARD: Tony. How would you rate your recent performance as team leader? TONY: I'd say it was a solid "B." Minus. I'm being fired, aren't I? SHEPARD: In a manner of speaking, yes. TONY: If this has to do with Gibbs coming back, I have no problem working for him. SHEPARD: These orders are for you. TONY: NCIS Rota, Spain? SHEPARD: Your own team. Congratulations. TONY: Wow, uh... I don't know what to say. SHEPARD: Your performance these last four months has been exemplary. You've earned it. TONY: What about La Grenouille? That took months getting in. SHEPARD: You're not getting too involved, are you? TONY: Only in the mission. If we put another agent undercover, La Grenouille will smell it. SHEPARD: So you're passing on a promotion that any other agent in this building would kll for all because you're worried about some long-sht mission? I don't think so. TONY: Okay. I'm worried about Jethro. SHEPARD: Jethro's fine. TONY: Then how do you explain that thing on his upper lip? He looks like Wilford Brimley, Junior. SHEPARD: So you're turning down a promotion because of a moustache? TONY: His memory is still screwed up. He called Ziva "Kate" yesterday. I just want to make sure he's a hundred percent before I leave. SHEPARD: I see. And how long might that process take? TONY: I don't know. Maybe ... a few months? SHEPARD: How does seventy-two hours sound? TONY: Very fast. SHEPARD: It wasn't a question. I need an answer by the end of the week. Tony, if you pass this up, another opportunity like this might not come up for years. TONY: Can we keep this like the Grenouille mission... just between the two of us? SHEPARD: If you wish. TONY: Thank you.(DOOR OPENS/ CLOSES) CUT TO: INT. BALCONY - DAY (SFX: PHONE RINGS) TONY: (INTO PHONE) Dinozzo. Stop calling me from dispatch, will you, Mollvaney? I'm not the team leader anymore. Gibbs is. Trust me, it makes a difference! Now, call him and leave me alone! ZIVA: Problems, Tony? TONY: Wrong number, Ziva. (SFX: PHONE RINGS) GIBBS: (INTO PHONE) Gibbs. MCGEE: Is there a reason you're gearing up? TONY: What's my motto, McGee. MCGEE: You'll never date a woman that eats more than you do? TONY: (LAUGHS) Well, yeah. That's true. But always be prepared. Bat signal may fly at any moment. GIBBS: (INTO PHONE) We're on our way. (ON CAMERA) Grab your gear! We're heading out. MCGEE: How did you know? TONY: Well, it's a gift, McGee. I... choose not to question it. MCGEE: Where are we going, Boss? GIBBS: Ask Dinozzo. All I got was a wrong number. CUT TO: EXT. PARKING LOT - DAY ZIVA: Since when do we investigate stolen cars, Tony? TONY: Since it belongs to a sailor and someone appears to have been slaughtered inside it. ZIVA: So where's the body? TONY: Well, that's kind of the reason we're here. Goes with the whole criminal investigative thing. ZIVA: Oh, okay. I understand. TONY: Understand what? ZIVA: You feel a little thrat now that Gibbs is back. TONY: I do not! ZIVA: You have been whining like a little snitch all week! TONY: The term is "bitch." ZIVA: I know. I was being polite. CUT TO: EXT. TRUCK - DAY MCGEE: Boss, vehicle's registered to a Navy Lieutenant Anne Sullivan - is a computer programmer for base housing. Reported U.A. this morning. First time in her career. GIBBS: Witnesses? MCGEE: Uh, nine-one-one call. Two motorists reported a man driving her vehicle with a bloody woman screaming in back. I'm assuming that's our missing Lieutenant. GIBBS: Assuming? MCGEE: Well, Fredericksburg P.D. has descriptions of both the woman and her abductor. They're sending them to NCIS as we speak. GIBBS: That's a good job, Tim. MCGEE: Can I help you find something, Boss? Maybe ...? GIBBS: My notepads. MCGEE: Right back here. We reorganized the supplies. Tony felt this way was more efficient. GIBBS: You don't say. MCGEE: Well, you know, I could put them back the way it was before you quit - retired. GIBBS: Well, that depends, McGee. Is it more efficient? MCGEE: It seems to be. GIBBS: Then leave them where they are. CUT TO: EXT. PARKING LOT - DAY ZIVA: There appears to have been a struggle. Multiple hand and fingerprints. A lost shoe. A pair of glasses. And I don't believe she was slaughtered. At least not in the back of this vehicle. TONY: Why is that? ZIVA: The traces of blood are all from skin contact. A more serious wound would have left pools of it. Enough criminal investigating for you, Tony? GIBBS: Lieutenant Sullivan's address. She lives in Culpeper. TONY: Take McGee. If you leave now, you can avoid traffic. Anything unusual, you call me. (bat) I mean, you know, you do... you... whatever you want them to do, Boss. (PASSAGE OF TIME) TONY: So I got used to being in charge, sue me. ZIVA: Is there a reason why you always have to drive? TONY: I could say it's because I'm the Senior Field Agent. But mostly because I want to live. ZIVA: Then I recommend you getting unused to being in charge, before Gibbs decides to kll you. CUT TO: EXT. TRUCK - DAY MCGEE: Tow truck should be here any minute, Boss. GIBBS: You find the other shoe yet, McGee? MCGEE: Uh... there was only one in the vehicle. GIBBS: You ever see a woman try to walk with one high heel on? Not pretty. Hey look at this. Blood smears on the pavement. If she was carried, they'd be drops. And what looks like a strand of nylon thread. Maybe it was from a stocking. MCGEE: She could have fallen and scraped her knee? GIBBS: Mark it. (PAUSE) Okay, you're looking for help, which way would you go? MCGEE: Well, Waverley's football team was away. The lot was empty all weekend. Should have headed towards campus, but she didn't. She went in the opposite direction. She was forced. GIBBS: That's good thinking, Tim. Come on. Another blood drop. Like I said, the other shoe. Okay, now tell me where she went.(MCGEE AND GIBBS FOLLOW THE TRAIL) MCGEE: There was another car. Judging by these tire tracks, they left in a hurry. GIBBS: Match the tires, might even find out the make and model. MCGEE: Good to have you back, Boss. ZIVA: (V.O.) If you'd let me drive... CUT TO: INT. APARTMENT CORRIDOR - DAY ZIVA: ... we would have been here half an hour ago. TONY: Yeah. Our bodies could be in a twisted wreck awaiting the Jaws of Life. ZIVA: Gibbs lets me drive. TONY: I have more to live for. ZIVA: I see. Perhaps this new mystery girlfriend of yours... TONY: She's not a mystery. ZIVA: Then why haven't any of us met her? TONY: Look, it's complicated. (MUSIC OVER ACTION/ZIVA AND TONY ENTER THE APARTMENT) ZIVA: Clear! TONY: This is weird. ZIVA: I agree. Someone was obviously searching for something. TONY: No, I mean this apartment. What does it remind you of, Ziva? Put a writing desk over there. ZIVA: You're right. It's almost... TONY: Identical to McGeek's. What do you make of this? ZIVA: Some kind of profile. TONY: They're all profiles. I think I know what the profile's might have been used for. ZIVA: She was targeting people. (MUSIC UP AND OUT) MUSIC IN: INT. NCIS SQUAD ROOM - DAY MCGEE: This is a police sketch-artist's rendering of what the witnesses saw late yesterday afternoon. And this is a photo of Lieutenant Sullivan for comparison. TONY: I'd say that's a pretty good match. GIBBS: You think, Dinozzo? (TO MCGEE) The driver, McGee. MCGEE: Fredericksburg P.D. put a BOLO out on him last night. GIBBS AND TONY: Any hits? TONY: Sorry, Boss. Continue... if you want to, of course. MCGEE: No hits yet, but the local LEO's did match the likeness to a mug sht. Justin Farris. Arrested for car theft five years ago. Currently lives with his mother. Claims she hasn't seen him since yesterday. TONY: Our Lieutenant had around sixteen profiles on people at her apartment. GIBBS: Without photographs or names. I'm still waiting on the why. TONY: Me, too, Boss. I'm just saying, Farris might be one of them. Our Rosetta Stone, if you will. GIBBS: Find him! That's good work, Tim. Not bad either, Tony. (GIBBS WALKS O.S.) MCGEE: Is it just me or does he seem a little more....? TONY: Human? MCGEE: Well, I was going to say mellow, but yeah. TONY: Yeah. I think it's the moustache. Lulling us into a false sense of security. CUT TO: INT. ABBY'S LAB - DAY ABBY: That's all of them. ZIVA: It appears one of them is missing. GIBBS: Missing what? ABBY: One of the profiles. Alpha-bravo-one-zero-one-six. GIBBS: Targets? ZIVA: The binder they were kept in listed them as potential targets. GIBBS: The Alpha-Bravo designations. It's how we labeled pre-planned atillery targets in the Corps. ABBY: Maybe she was planning on dropping bmb on them. GIBBS: What else was missing from the Lieutenant's place? ZIVA: I'm more concerned with what was left, Gibbs - money, jewelry. It's not your typical burglary. GIBBS: This means they knew what they were looking for. What can you tell me about these? ZIVA: She was profiling men. All the information gathered was taken from public records. GIBBS: Yeah, I can see that. Why? ZIVA: Well, that's an excellent question. I was wondering that myself. GIBBS: Abby? ABBY: All of these were printed from the same printer. You want to know how I know? GIBBS: Newer models imbed micro codes in the print that helps I.D. hardware to counterfeit money and documents. ABBY: Wow. Good guess. It also means that the information they represent is on her computer. GIBBS: Show me. ABBY: I'd love to, but I can't. Not yet. Bad guys smash up real good. I'm still trying to recover the hard drives. GIBBS: How long? ABBY: Did I mention bad guys smash up real good, like really, really good? Probably days. GIBBS: We don't have days, Abs. Get McGee to help you. ABBY: Wait! There's more. I ran the fingerprints from the SUV. I matched all of them except three to a partial handprint. GIBBS: And? ABBY: And I can say with certainty, that the woman in the back of the SUV was--- GIBBS: Lieutenant Anne Sullivan. McGee already figured it out. ABBY: Okay, did he tell you this? The partial handprint that I couldn't match has a super-defined index finger. Which means it's not Sullivan's. It's the bad guy's. I'm running it now. GIBBS: Name is Justin Farris. ABBY: McGee! GIBBS: Yep. ABBY: Is it just me or does he seem a little... ZIVA: Snitchy? ABBY: That's close enough. It's got to be that damn moustache! CUT TO: INT. NCIS SQUAD ROOM - DAY TONY: (INTO PHONE) I want agents knocking on doors of anyone who met, knows, or sneezed on Farris in the last year, Mollvaney. (SFX: TONY SNAPPING HIS FINGERS) MOLLVANEY: (V.O./FILTERED) All right! All right! I'll get on it! TONY: (TO MCGEE) Probie! I need you over here! MOLLVANEY: (V.O./FILTERED) What else do you want? TONY: (INTO PHONE) Well, if they find anything, make sure that you call Gibbs, not me. MOLLVANEY: (V.O./FILTERED) Right. Is the mustache real? TONY: (INTO PHONE) Yes, the mustache is real. (TO MCGEE) You got a hearing problem? MCGEE: Oh, I'm sorry. Were you talking to me? TONY: There's no one else in the squad room. MCGEE: Well, I thought I heard you say probie. And since Agent Lee has been reassigned to the legal department, I wasn't exactly sure who you were referring to. TONY: Haha. I get it. You don't like called probie anymore? MCGEE: Things change. TONY: Yes, I know. I used to be team leader, Pro-o-o-bie. MCGEE: Temporary team leader. And that was only because Gibbs quit. TONY: You don't think I rate my own team? MCGEE: You wouldn't be here now if you did, would you, Dinozzo? TONY: Yeah. Maybe you're right. If Gibbs asks, tell him I went out for coffee. (TONY WALKS O.S.) MCGEE: Tony, I didn't-- GIBBS: McGee, how long have I been a NCIS special agent? MCGEE: Almost sixteen years. GIBBS: Want to take a wild guess what my first partner still calls me? CUT TO: INT. NCIS ELEVATOR - DAY (SFX: DOORS SLIDE OPEN) TONY: You've done it again, Dinozzo. (SFX: DOORS SLIDE CLOSED) MUSICAL BRIDGE TO: INT. INTERROGATION ROOM FARRIS: I voluntarily turned myself in. I'm just trying to do the right thing here, Agent Gibbs. Look, I'm admitting it, okay? I stole the damn SUV, but I didn't kidnap anyone. GIBBS: How do you explain these? FARRIS: I didn't know that chick was back there when I took it. GIBBS: Her name is Lieutenant Anne Sullivan! (SHOUTS) Where is she!? FARRIS: I told you, I don't know. Look, I am telling you. I just committed grand theft auto. Why the hell would I do that if I wasn't telling the truth? GIBBS: To avoid kidnap and mrder charges! FARRIS: Whoa! She's dad?! No! No, she was alive and screaming in the back of the SUV the last time I saw her. GIBBS: (OVERLAP) Screaming what? FARRIS: I don't know. Something about a... being singled out by some guy. GIBBS: What guy? FARRIS: I didn't exactly stick around to find out, okay? I am telling you I didn't kll her. CUT TO: INT. OBSERVATION ROOM TONY: So what do you think? ZIVA: He might be telling the truth. TONY: I mean about the mustache. ZIVA: Oh. It makes him look distinguished, yes? TONY: It's not Gibbs. ZIVA: People change. TONY: People maybe, not Gibbs. FARRIS: (V.O./FILTERED) I knew it was too good to be true. The door was open, engine running... CUT TO: INT. INTERROGATION ROOM FARRIS: Couldn't help myself, Agent Gibbs. GIBBS: Where? FARRIS: It was the Texaco station on Wildwood Road. Look, I'm telling you the first time I saw this chick - sorry, Lieutenant Sullivan - was in the rear view mirror when she woke up and started screaming. GIBBS: Last time. FARRIS: FARRIS: In the lot where I dumped the ride. Look, I even dialed nine-one-one! Yeah, I hung up, but I dialed. That's got to count for something, right? Wait. Wait, wait. There might have been another car. (CONT.) There was a silver Honda Accord that I thought might be tailing me. I thought somebody saw me boost the SUV at the station. GIBBS: You see the driver? FARRIS: No, he was wearing a ball cap. I never got a good look at his face, okay? But he must have followed me. That's who you should be looking for! I'm not a kidnapper! GIBBS: No. You're just the dirtbag that left her there to die. MUSICAL BRIDGE TO: INT. HALLWAY TONY: Ziva's running down the gas station lead. Nine-one-one hang up already checked out. Traced it to Farris' cell. Ducky wants to see you. GIBBS: About what? TONY: Something about profiling Lieutenant Sullivan's profile. Maybe you should ask him. So do you think Farris is innocent? GIBBS: I don't know. You check the bloody fingerprints Abby has against his yet? CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: (INTO RADIO) You are quite the fascinating woman, my dear. Sadly, due to Darwinian evolution, men tend to cherish women's bodies rather than their minds. I must admit, I sometimes fall prey to that myself. (SFX: DOORS SLIDE OPEN) GIBBS: I thought you only talked to bodies. DUCKY: A lot has changed since you quit. Fortunately, one doesn't need a body for a psychological autopsy, which is what I'm doing here on our missing Lieutenant. GIBBS: I heard you passed your test. DUCKY: Yes. The graduation ceremony was very rewarding. All my friends were there. GIBBS: What do you got? DUCKY: Um, well, a sampling of the Lieutenant's DVD collection: Under the Tuscan Sun, Sabrina, Ghost, Fried Green Tomatoes. What Tony would classify as chick flicks. Yet they contrast vividly with her choice in literature. Like our Timothy, she is quite the fan of the detective and the spy genres. A dissonance made even more interesting by these. Her fitness reports. They reveal a brilliant tactical mind with little tolerance for failure. One who is highly driven. She's well traveled, but notice this... GIBBS: Alone. DUCKY: Yes. I imagine you know something about that. GIBBS: Are you going somewhere with this, Doctor? DUCKY: Yes. This woman is a highly motivated loner with an odd desire for secrecy. These profiles that she keeps may indicate a need to control her environment and the people in it. GIBBS: But you don't know who they are? DUCKY: Well, this isn't an exact science. ABBY: (V.O./FILTERED) Gibbs! Gibbs! Gibbs! Over here! (ON MONITOR/FILTERED) Gibbs, your new golden boy McGee, he was wrong. The partial handprint... TONY: (ON MONITOR/FILTERED) ...isn't Farris', Boss. GIBBS: Whose is it? TONY: (ON MONITOR/FILTERED) Well... ABBY: (ON MONITOR/FILTERED).... that we don't know yet. But what that means is that... GIBBS: .... somebody else was there. (MUSIC UP AND OUT) MUSIC IN: INT. NCIS SQUAD ROOM - DAY ZIVA: Farris claims he didn't know Lieutenant Sullivan was in the vehicle when he stole it. When she started screaming, he dumped it here, with her still in it. Which means, whoever kidnapped her must have followed Farris to get the Lieutenant back. TONY: If he's telling the truth. That still doesn't explain why she's profiling people. ZIVA: Blackmail. Espionage. Assassination. TONY: All good reasons why someone would want to make her disappear. ZIVA: We could be missing something. TONY: Believe me, not from this angle. ZIVA: She could be a covert operative. TONY: She's a Navy computer geek who worked on software for base housing. According to her coworkers, she's a female version of McGee. ZIVA: Being a geek makes for a good cover. GIBBS: Cover for what? TONY: We're still trying to figure that out, Boss. GIBBS: Did you pull security tapes from the gas station? ZIVA: There weren't any. System's been broken for months. TONY: Tire marks from the lot check out Farris' story. They're a match for a factory-standard Honda Accord. GIBBS: Well, let's hope that Abby and McGee had better luck. Come on. TONY: Ah... MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY (MUSIC OVER ACTION/ABBY AND MCGEE SLEEPING) TONY: I wouldn't call this luck. GIBBS: (WHISPERS) Your computer is on fre. ABBY: McGee! My baby's French-frying! MCGEE: Checking internal core temperature! (SFX: RAPID KEYBOARDING) ABBY: That is so not funny, Gibbs. MCGEE: I must have nodded off. GIBBS: Tell me that you two have something. ABBY: We have something. We just don't know what it is. GIBBS: It looks like a time table for an operation. ABBY: The problem is the events on the axis are encrypted. MCGEE: We've been trying to crack it all night. TONY: Try harder, McGee. Chances of finding her alive drop to almost zero after forty-eight hours. (TO GIBBS) Sorry, I'm sure you knew that, Boss. GIBBS: Don't apologize, Dinozzo. TONY: Right. Sign of weakness. ZIVA: Not to mention annoying. ABBY: We were able to pull some programs off her directory. This is the only one that stands out. MorphPro. It's super high end imaging softward. It's unusual, because it retails for over five thousand dollars. TONY: Big bucks on a Lieutenant's salary. ZIVA: What's it for? ABBY: Morphing human features. Um, we pulled some test runs out of her cache. TONY: Ah, yeah. This is like the end of Saving Private Ryan. You know, when Matt Damon morphs into his older self. Anybody else get head faked by that, 'cause Tom Hanks was who I thought -- ZIVA: I've seen software like this before, Abby. Mossad used earlier versions to age nzi wr criminals. It was a great asset to hunting them down. GIBBS: So basically what you're saying to me is, we have nothing. ABBY: Gibbs! Ziva's talking about nzi. I wouldn't exactly call nzi's nothing. GIBBS: Abby. ABBY: We have nothing until we crack her encryptions. MCGEE: You mean if. It's high level. It's extremely sophisticated. DUCKY: Would her password help? ABBY: Well yeah, Ducky, but we don't have it. DUCKY: Well, I just spent a long night in our Lieutenant's head. I may be able to offer some suggestions. Try Coral Gables. (SFX: KEYBOARDING) DUCKY: Uh.. Fiddler's Green. (SFX: KEYBOARDING) DUCKY: Hampton Inn. GIBBS: Nice try. Tony, Ziva, with me. DUCKY: Spanish Rose.(SFX: KEYBOARDING) (SFX: COMPUTER BEEP TONES) ABBY: Whoa! MCGEE: We're in! Ducky, that's... ABBY: .... mind-blowingly amazing. DUCKY: It's more of an art, than a science. Oh, Lieutenant Sullivan was indeed into targeting people. She was using all her military knowledge and skills to find a husband. GIBBS: Well, it looks like she found herself a psycho instead, Doctor Mallard. CUT TO: INT. NCIS SQUAD ROOM - DAY MCGEE: Now that we have access to her files, we can see she was using MorphPro to predict the appearance of her adult offspring. TONY: Creepy. No wonder she couldn't find a husband. MCGEE: You know, choosing someone to spend the rest of your life with is not easy. Who wouldn't want to know all the facts before deciding? ZIVA: Isn't that what dating's all about? TONY: Yeah, you should try that sometime, McGee. MCGEE: Gee, I wonder what would happen if you two hooked up? Guys, meet your love child. (SFX: ZIVA LAUGHS) TONY AND ZIVA: (IN UNISON) Do Gibbs and the Director! ZIVA: Mmm. Now that's not a bad combination. TONY: Even with Gibbs as a father, I'd date her. GIBBS: Never more than once, Dinozzo. ABBY: Ah! You and the Director make nice Gibblets, Gibbs. GIBBS: McGee, pull up that website. While you three were playing, Abby found out where our Lieutenant was the day she was abducted. ZIVA: Speed dating? ABBY: There was an email invitation on her computer. It's a three day event and she went missing after the first day. GIBBS: Gas station where Farris stole her SUV was two blocks from the hotel hosting it. TONY: So she wasn't screaming about being singled out by a guy. ZIVA: She was talking about this. MCGEE: I've heard of V-S-O. Apparently they have an eighty-five percent success rate. ZIVA: For what? MCGEE: For marriages. GIBBS: What about kidnappings, McGee? MCGEE: I will work on getting a list of clients attending the event. ABBY: I tried it. Their lawyers say the "Virginia Singled Out" is a confidential service. So they keep their client list under lock and key. TONY: Warrant. On it, Boss. GIBBS: Not enough time. It ends tonight. ABBY: I can't tell you who is there, but I can tell you that it's the same guys from Sunday night. You want to know how I know? MCGEE: The V-S-O is designed to introduce successful men to a wide assortment of eligible women. Each night brings the promise of romance and a chance finding your soul mate. (bat) Or so I've heard. Okay, know what? I... I thought about going to one... one time. TONY: After this is over, you and I are going to have a little talk. ABBY: So the men remain the same, but the women change every night. GIBBS: Hey, we're doing this the old fashioned way. So Ziva, do you still think being a geek makes for a good cover? CUT TO: INT. ABBY'S LAB - DAY MCGEE: You sure about this? DUCKY: Oh, absolutely. We have created an image of Lieutenant Sullivan's type. Yeah, hopefully the similarities will trigger a visceral response in our kidnapper. ZIVA: Do you really think he'll come back for another woman, Ducky? DUCKY: No, no, no, no, no. I think he'll come back to avoid suspicion. I doubt you'll be in any kind of danger. MCGEE: Video-surveillance glasses. TONY: Good work, McGee! ZIVA: I look like a dork. TONY: Yeah, that's the point. ABBY: And this is a portable finger print scanner. It's wireless. MCGEE: And we'll know within a matter of seconds if the prints you collect match our mystery print from the SUV. ABBY: All you have to do is get each dater to press his right index finger here. ZIVA: Really? Is that all, Abby? How do you suggest I do that? GIBBS: Improvise. You'll figure it out. TONY: Our priority is IDing the members and finding out which one drives a silver Honda Accord. GIBBS: Questions? ZIVA: Just one. Can anyone please explain what speed-dating is? CUT TO: INT. BALLROOM - NIGHT ZIVA: Ninety-second dates? I thought you were kidding me, Gibbs. GIBBS: (V.O./FILTERED) You'll do fine, Ziva. I had marriages shorter than that. ZIVA: Huh! I'm starting to understand why. CUT TO: INT. MTAC - NIGHT GIBBS: Tony, sit-rep. TONY: (ON MONITOR/FILTERED) No silver Accord in the parking structure. Our girl's looking a little nervous, though. CUT TO: INT. BALLROOM - NIGHT TONY: I think we found her kryptonite. Our big bad spy doesn't do geek. ZIVA: Did he just say Greek? CUT TO: INT. MTAC - NIGHT GIBBS: How about both of you, (V.O.) shut up! M.C.: (V.O.) Okay, daters... CUT TO: INT. BALLROOM - NIGHT M.C.: ... we've got a really full house tonight, so please remember, be courteous to each other and move at the sound of the chime. Please begin now. (SFX: CHIME) LARRY: Hi, Natalie! I'm Larry. ZIVA: Hi. Uh... last name? LARRY: Uh, West. Uh... banker by trade. But my passion happens to be astronomy. Um... why don't you tell me a little bit about yourself? ZIVA: I like computers. And that stuff you do with the yarn. LARRY: Knitting? ZIVA: Yes! That's it. LARRY: Has anyone ever told you you're very attractive, Natalie? ZIVA: My brother. LARRY: That's interesting. GIBBS: (V.O./FILTERED) Get his prints, Ziva. ZIVA: You know, I feel... CUT TO: INT. MTAC - NIGHT MCGEE: Interface is up. She's getting his print now.(SFX: ZIVA TALKS B.G.) ZIVA: (V.O./FILTERED) ...With you, Gary. CUT TO: INT. BALLROOM - NIGHT LARRY: Larry. ZIVA: Oh. LARRY: What have you got in your hand there? ZIVA: It's called a mood scanner. See? LARRY: Oh. ZIVA: It lets me know if you're in the mood. LARRY: Ooh, very New Age. I like that. (CHUCKLES) ZIVA: There is something about your eyes. LARRY: I get that a lot. It's allergies. ZIVA: Oh. What kind of car do you drive? LARRY: Does it really matter? ZIVA: Well, cars get me ... CUT TO: INT. MTAC - NIGHT ZIVA: (V.O./FILTERED) ... extremely hot, Larry! LARRY: (V.O./FILTERED) I drive... CUT TO: INT. BALLROOM - NIGHT LARRY: ... a Porch. ZIVA: You mean a Porsche? LARRY: Yeah. It's in the shop. ZIVA: That's a nice ... car. CUT TO: INT. MTAC - NIGHT MCGEE: Oh for one. Twenty-four more guys to go.(VOICES B.G.) GIBBS: He's clean, Ziva. ZIVA: (V.O./FILTERED) Yeah, well you didn't have to smell him, Gibbs. GIBBS: And do turn up the charm, Ziva David. You're a geek, not mentlly deranged. CUT TO: INT. BALLROOM - NIGHT (MUSIC OVER ACTION/ZIVA MEETS DATES) (INTERCUT SCENES OF GIBBS IN MTAC) CUT TO: INT. BAR - NIGHT THOMAS: Get you another one, Sir? TONY: Oh, yeah sure. Why not? Thanks, Graham. THOMAS: You with the speed-dating party, Sir? TONY: Why? Do I look like I need that stuff to get a date? THOMAS: I have to ask, Sir. They get fifteen percent off drinks. TONY: Mm. Just my luck. I'm just waiting for a friend. Met her online last month. She was supposed to be here an hour ago. Want to see a picture? Recognize her? THOMAS: Dirty vodka martini. She's a regular. Saw her around on Sunday afternoon. TONY: Really? Was she alone or with someone? THOMAS: She was with the speed-dating party. A couple guys were buying drinks for her afterwards. You know how that goes. TONY: Yeah. Yeah. Any of those McFisters here now? THOMAS: That's one of them. Over there. The gentleman with the glasses across from the nerdy-looking girl. TONY: Yeah, thank you. Did you get that, Boss? GIBBS: (V.O./FILTERED) Yeah. CUT TO: INT. MTAC - NIGHT GIBBS: Got it. I need a print on this guy, and you are out of time, Ziva. CUT TO: INT. BALLROOM - NIGHT ZIVA: Really? HOOPER: Oh, yeah! I think there's something spiritual about glass. Hot molten silicate, shaping it with nothing-- ZIVA: You know, I feel an attraction between us, Calvin. HOOPER: Really? ZIVA: Yes. Something animal, you know. Something uh... primal. HOOPER: Okay. M.C.: (V.O.) And time! CUT TO: INT. MTAC - NIGHT MCGEE: Print didn't scan. GIBBS: Ziva, we still need his... CUT TO: INT. BALLROOM - NIGHT GIBBS: (V.O./FILTERED) ... print! MCGEE: (V.O./FILTERED) But we did... CUT TO: INT. MTAC - NIGHT MCGEE: ... get a ht on his name. Calvin Hooper reported a silver Honda Accord stolen Sunday night in Fairfax. He could have been the one following Farris. GIBBS: Tony, take him down, quietly. CUT TO: INT. BALLROOM - NIGHT TONY: Intercepting now, Boss. ZIVA: Would you like to get a bite to eat, Calvin? HOOPER: Uh, you mean... together? ZIVA: Of course. CUT TO: INT. MTAC - NIGHT HOOPER: (ON MONITOR/FILTERED) Uh... well, sure! CUT TO: INT. BALLROOM - NIGHT HOOPER: I'd love to! ZIVA: Or let's just skip the dinner and go straight for desert! HOOPER: You know, this kind of thing never happens to me. ZIVA: Oh! TONY: Calvin Hooper? HOOPER: Yes? Huh? ZIVA: Remove your hand... CUT TO: INT. MTAC - NIGHT ZIVA: (V.O./FILTERED) ... or I will rip your arm off and bat you to death with it! HOOPER: (ON MONITOR) Um... MCGEE: It's not a match! GIBBS: What? Run it again! MCGEE: Boss, he's not our guy. (MUSIC UP AND OUT) FADE IN: INT. INTERROGATION ROOM HOOPER: But you've no right to arrest me. TONY: You're not under arrest, Calvin. ZIVA: Yet. TONY: We just want to clear up a few things. HOOPER: No one read me my Miranda rights. TONY: That's because you're not under arrest. ZIVA: Yet! TONY: Ziva! ZIVA: Sorry! CUT TO: INT. OBSERVATION ROOM SHEPARD: You should be proud of him. GIBBS: Dinozzo? SHEPARD: When you left, there were some rocky moments. He really held the team together. GIBBS: That's what I trained him to do. SHEPARD: I just thought you should know he excelled at it. GIBBS: Then give him his own team, Jen. SHEPARD: You think he's ready? GIBBS: I wouldn't have quit if he wasn't. SHEPARD: You should tell him that. GIBBS: Oh, trust me. When Dinozzo thinks he's ready for his own team, you'll know about it. Hell, the whole world will know about it. CUT TO: INT. INTERROGATION ROOM TONY: You say you reported your car stolen Sunday night. HOOPER: Yes. Is that some kind of crime? TONY: No. Of course, not. However, filing a false police report.... ZIVA: Crime!! HOOPER: I think I want a lawyer now. TONY: What part of "you're not under arrest" don't you get, Calvin? HOOPER: So I'm... I'm free to go here at any time? TONY: Sure. Unless we charge you with a crime. See, the thing is, Cal, can I call you Cal? Arresting you means more paperwork for me. So what I need from you is the truth. HOOPER: But my car really was stolen. TONY: Which sucks for you. Unfortunately you reported it stolen from your home in Fairfax. ZIVA: Speed-dating is a three day event. You stayed at the Belmar every night. You paid cash up front. TONY: Which was wise, considering that you're married and attending a speed-dating service. ZIVA: I'm calling his wife. HOOPER: No! Wait! Please. It wasn't stolen from my house, but you can't - I - she'll find out. (V.O./FILTERED) My wife was at (ON CAMERA) her sister's place in Jersey. They just had a baby. I've been married eighteen years now. I was just trying to have a little fun. TONY: Yeah. What we need to know is where and when, Cal. HOOPER: The first day of the event, I struck out. ZIVA: Shocking. HOOPER: So I drove over to the Texaco station around six to get some cigarettes and wine. And I'm in the store maybe a minute when I look out and this guy is driving away in my car! TONY: Please describe him. HOOPER: White, about your height. He was wearing a Chicago Cubs hat. And really, you know, I just got a glimpse of him but... ZIVA: Not good enough. You grabbed my ass, Calvin. HOOPER: No, hold on! Hold on! Just a second. Um... give me a second! Just a second to... um... when I drove up he uh... he was standing out front, and he was on the pay phone. CUT TO: INT. OBSERVATION ROOM HOOPER: (V.O./FILTERED) I swear that's all that ever happened. CUT TO: INT. NCIS SQUAD ROOM - DAY ZIVA: Farris stole the Lieutenant's SUV with the Lieutenant in it from the gas station at around eighteen hundred. TONY: And Cubs Hat steals Calvin's car at the same time, same place, and follows him. ZIVA: Well, do you think they were working together? TONY: It's possible. GIBBS: Except they weren't. Guy in the Cubby hat stopped by to use the pay phone. Probably didn't want to risk being overheard. Didn't figure on Farris coming by and stealing his car. TONY: So he had to steal the Accord to follow Farris. GIBBS: If he wanted the Lieutenant back. TONY: Well, we've got to get that pay phone, find out who he was calling. GIBBS: McGee just brought it back. CUT TO: INT. ABBY'S LAB - DAY ABBY: ABBY: Feast your eyes on a Western Electric one-D-two. A piece of nineteen eighty-nine's finest technology. (CONT.) The three latent prints that we took of this phone matched our mystery print that we got from the back of Sullivan's SUV. Cubs Hat is definitely our kidnapper. ZIVA: Did you run the calls made Sunday night? ABBY: Did and done, Ziva. The traces just came in. There were only four calls made from the payphone that night. I mean, the payphone industry has been decimated by cell phone penetration. The only time you really use a pay phone would be on an airplane, which is probably the reason that you can't use your cell phone on an airplane- GIBBS: (OVERLAP) Abs, the missing Lieutenant. ABBY: Right. Um... three of the calls were to taxi cab companies, and one was to a warehouse in Fredericksburg. It's a rental space. There's the address. GIBBS: Abby! Good job. (GIBBS WALKS O.S.) ABBY: Those are two words I will never take for granted again, Bert. CUT TO: EXT. ALLEY - NIGHT (MUSIC OVER ACTION/ALL MOVE INTO THE WAREHOUSE) CUT TO: INT. WAREHOUSE - NIGHT (MUSIC OVER ACTION/ALL SEARCH THE WAREHOUSE) TONY: Clear! MCGEE: No one's here, Boss. ZIVA: The Lieutenant was here. It's her purse; military I.D. is still inside. GIBBS: They knew we were coming. TONY: Maybe not, Boss. You definitely need to check this out. It looks like a professional crew. Detailed itineraries, blueprints, and a scale model. ZIVA: It's for the Belmar Plaza Hotel. MCGEE: They're planning a heist? TONY: Yeah, a big one. Coin convention and auction. They're planning on hitting the hotel's vault. MCGEE: Does it say how? GIBBS: From inside. They're working the place. MCGEE: What does the Lieutenant have to do with this? ZIVA: She was dating one of them. Alpha bravo one zero one six. The missing profile. It says here he's a hotel bartender. Lied to her about his entire past. TONY: She ran a background check on his cover. ZIVA: I can only imagine he panicked when she started questioning him about it. TONY: We need to get to the hotel before they ht the vault. GIBBS: They started four minutes ago. Come on! MUSICAL BRIDGE TO: INT. HOTEL VAULT - NIGHT (MUSIC OVER ACTION/CREW UNLOAD THE COINS) CUT TO: INT. CORRIDOR - NIGHT (MUSIC OVER ACTION/CREW MOVE THE COINS INTO THE LAUNDRY CART) MUSICAL BRIDGE TO: INT. LAUNDRY TRUCK - NIGHT (SFX: ANNIE'S MUFFLED CRIES CONTINUE B.G.) THOMAS: You really had us scared there for a minute, Annie. We thought you might be F.B.I. or a detective working for the hotel. But no cops. Looks like you were telling me the truth. I'd wish you luck with the whole husband thing but, I don't think it's really going to work out for you. I'm not exactly the marrying type. (SFX: KNOCK ON METAL) (SFX: WAREHOUSE DOOR SLIDES OPEN) THOMAS: We're running eight minutes behind schedule. Sanitize the warehouse. We meet at the airport in two hours. (SFX: WAREHOUSE DOOR SLIDES CLOSED) THOMAS: It's nothing personal, Annie. You just know too much.(SFX: MUFFLED CRYING B.G.) ZIVA: Don't move! Drop your wapon! Or if you prefer, I can sh**t you in the spine. Would you rather be a para or quadriplegic? (SFX: SIRENS/ POLICE CAR BRAKES TO A STOP) GIBBS: (V.O./SHOUTS) NCIS! TONY: (SHOUTS) Put your hands where we can see them! (PASSAGE OF TIME) (SFX: POLICE RADIOS B.G.) ZIVA: Have a seat. SULLIVAN: Thank you. Thank you. TONY: (TO GIBBS) You can't tell me you didn't miss this when you were in Mexico. GIBBS: A couple of minutes. TONY: That's it? GIBBS: That's the difference between putting the Lieutenant in a body bag or an ambulance. MUSICAL BRIDGE TO: INT. SHEPARD'S OFFICE - NIGHT (KNOCK ON DOOR) SHEPARD: Come in, Tony! (DOOR OPENS) TONY: How'd you know it was me? SHEPARD: Because your deadline passed hours ago. (DOOR CLOSES) TONY: I've made my decision. SHEPARD: And I respect it. Sometimes I even wish I made the same one myself. TONY: But I'm passing on the promotion, Jenny. SHEPARD: I know. TONY: Well, how can you know? I just made up my mind behind the door. SHEPARD: To get here in this office, especially as a woman, my career has been on the fast track my entire life. And between you and me, sometimes I wish I'd taken it a little slower. TONY: Hm. So you're not disappointed? SHEPARD: No. Actually, I'm feeling a bit proud at the moment. TONY: Hm. SHEPARD: Go home and get some sleep. TONY: Listen, this wouldn't... be the right time to bring up the possibility of a performance award or ... SHEPARD: Good night, Tony. TONY: Yeah, I didn't think so. Good night, Jenny.(DOOR OPENS/ CLOSES) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x03 - Singled Out"}	foreverdreaming
MUSIC IN: INT. CAR - MOVING (SFX: CAR HORN HONKS) (MUSIC OVER ACTION/CAR DRIVES RAPIDLY) PUCHENKO: (IN RUSSIAN) Arkady, you're not going to believe what just happened! Someone from the past - the go-between, Vale. He saw me, Arkady! He saw me! (SFX: POLICE SIRENS B.G.) PUCHENKO: (IN RUSSIAN) Police. I'll call you. (PUCHENKO BRAKES TO A STOP) (SFX: CAR DOORS CLOSE) GIOTTI: Driver's license and registration, please, Sir. PUCHENKO: Sorry, officer. My wife, uh...pregnant. Uh... she's always calling me when I'm driving. GIOTTI: And registration, Sir. (SHOUTS) gn!!! PUCHENKO: No! GIOTTI: (SHOUTS) Sir, put your hands up on the dashboard! PUCHENKO: But my wife -- GIOTTI: (SHOUTS) Hands on the dash board! I want to see your hands! All right, nice and slow. I want your hands through the window, opening the door from the outside and step out of the car. Now! Charlie? JORDAN: I got it... ..... now! Hands behind your back. GIOTTI: You just fired this gn, Sir. (SFX: CAR HORN HONKING B.G.) (SFX: CAR TIRES SCREECH) (SFX: CAR CRASHES INTO THE POLICE CAR) (SFX: STEADY HORN HONKING) GIOTTI: Damn! (GIOTTI WALKS TO THE PASSENGER) GIOTTI: Are you okay, Sir? Sir? (DOOR OPENS) (SFX: COINS SPILL ONTO THE ROAD) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) ZIVA: Men are such bad liars. "FAKING IT" MCGEE: But if a good liar was telling you a lie, you would not know it was a lie. ZIVA: Ha! I would. MCGEE: How would you know? TONY: Know what? MCGEE: When an expert liar is telling Ziva a lie. TONY: And this started how? MCGEE: Well, I told her that I went to the gym this morning. TONY: No great skill in guessing you were fibbing there, Probie. You may have lost some weight, and personally I am very proud of you. But gym is definitely not your middle name. MCGEE: Okay, well, Ziva thinks that all men are liars. TONY: Really? So if I were to lie to you, you would be able to tell? ZIVA: (LAUGHS) Particularly you. TONY: You think? MCGEE: I wouldn't go there, Tony. TONY: Oh, watch and weep. True or false? I had eggs for breakfast this morning. ZIVA: True. TONY: Lucky guess. Last night I had a date with a very beautiful woman. ZIVA: False. TONY: (TO MCGEE) She's good. (TO ZIVA) My first car was a shiny new red Corvette. ZIVA: False. Strike three. I win. TONY: How did... how did you do that? ZIVA: When you said you had a red Corvette, you looked down and to the left. A telltale sign when people lie. TONY: And the date? ZIVA: Tony, if you'd gone out with a beautiful woman last night, you would have talked about it all day. TONY: I would? GIBBS: (V.O./INTO PHONE) Location? MCGEE: Oh, yeah. TONY: Okay, but do you possibly know that I had eggs for breakfast this morning? GIBBS: Gear up. We have a message from a dad guy. TONY: Ready to roll, Boss. GIBBS: Dinozzo? TONY: Yeah, Boss? GIBBS: You've got egg on your shirt. ZIVA: Not just your shirt. CUT TO: EXT. CITY STREET - DAY (SFX: POLICE RADIOS B.G.) DUCKY: It's amazing what the human body can endure. This poor fellow probably lasted longer than he should. GIBBS: How much longer? DUCKY: Several minutes. Not much when you stack it against a lifetime of minutes, but minutes nonetheless. He could have driven a couple of miles. GIOTTI: More like a couple of city blocks. Traffic sucks this time of day. According to his military ID, he's Chief Petty Officer Jack T. Vale. You know him? GIBBS: No. GIOTTI: Well, he knows you guys. TONY: Jackpot. There's got to be fifty or sixty bucks there. DUCKY: Yeah, there's more in his trouser pocket. TONY: What do you think? Illegal slots? MCGEE: Maybe he was on his way to a video arcade. ZIVA: Maybe he was doing laundry. TONY: That's a lot of laundry. ZIVA: Maybe he was a once a month kind of man. TONY: I do it once a week. (bat) Laundry. GIBBS: Who's the fare? GIOTTI: Oh, that's Robert John Stevens. But the guy's got an accent as thick as polish sausage, so I ain't buying it. Found a loaded thirty-eight on the seat. Recently fired. GIBBS: Got an exit wound? DUCKY: No, there doesn't appear to be an exit wound. So, I dig out the bllet, you match it to the wapon and hey, presto! Justice prevails. TONY: Open and shut case, Boss. GIBBS: No such thing, Dinozzo. Only water-tight. DUCKY: (V.O.) Give me a call when you're finished. TONY: (V.O.) You got it, Ducky. (PASSAGE OF TIME) TONY: It doesn't look like a fake I.D. ZIVA: Fake. TONY: What are you talking about? You barely got a look at it. ZIVA: I can spot a fake a mile away. TONY: Huh. I had the best fake ID in college. Never got turned away from a bar. ZIVA: Never? TONY: Never. (bat) Once. ZIVA: Once? TONY: Or twice. ZIVA: A month? TONY: A week. But listen, we went out every night, and it was a college town. And they're very tough there. Eagle-eyed bouncers. Really, you had to act the part, too, you know? You had to be mature, worldly, kind of grown up. ZIVA: So it wasn't really the ID, it was you. TONY: Are you kidding me? No! No, I was... I was the master of fake. MCGEE: Last call dialed was nine-one-one. Cops will have it on tape. Maybe this one will be easy. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM GIBBS: Fake name. Fake plates. Real wapon. Real guy dad. When he first saw you, he called nine-one-one. When you realized he was trailing you, you sht him. Even the very, very good ones slip up eventually. And you, Mister Stevens, you're not very good. CUT TO: INT. OBSERVATION ROOM TONY: Women want men to lie to them. ZIVA: Not true. TONY: Honey, does my butt look big in these pants to you? Actually, yes, sweetheart. Your butt looks as big as Alabama. Didn't want to say anything, but you got the 'Bama butt going on. See? You want us to lie to you, so we do. Especially if your butt is as big as 'Bama. (bat) Not that ... not that your butt is big. And not that I've even looked. ZIVA: Oh, liar! TONY: Okay, (CHUCKLES) I have looked. But, you know, I never.... ZIVA: Never what?! TONY: Oh, no. I'm catching on to you. And you're not going to get me to say something and then do your little Mossad true-or-false trick. I'm too smart for that. ZIVA: (CHUCLES) Of course, you are. (DOOR OPENS/ CLOSES) GIBBS: Ziva. ZIVA: Gibbs. GIBBS: How many languages do you speak? MUSICAL BRIDGE TO: INT. INTERROGATION ROOM ZIVA: (IN FRENCH) What is your name? CUT TO: INT. OBSERVATION ROOM TONY: French. ZIVA: (IN GERMAN) All we want to know is your name. TONY: And German. CUT TO: INT. INTERROGATION ROOM ZIVA: (IN ITALIAN) Tell me your name. CUT TO: INT. OBSERVATION ROOM TONY: Italian, of course. CUT TO: INT. INTERROGATION ROOM ZIVA: (IN ARABIC) Why won't you tell us your name? CUT TO: INT. OBSERVATION ROOM TONY: Greek. GIBBS: Arabic. TONY: Nice, Boss. CUT TO: INT. INTERROGATION ROOM ZIVA: (IN RUSSIAN) Tell me your name. CUT TO: INT. OBSERVATION ROOM GIBBS: Ah, got him. He's Russian. TONY: Looked down and to the left. Sure sign of a liar. GIBBS: That's very good, Dinozzo. TONY: Thanks, Boss. GIBBS: Did Ziva tell you that? MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY GIBBS: Tell me you found a match on our suspect's prints, Abs. ABBY: Negative. It's still processing. What we do have is seventy-three dollars and sixty-five cents. That's what the victim was carrying. And there's no pennies. He probably threw them out. A lot of people do, you know. I mean, I don't, but other people do. Do you know how many pennies are thrown out or put into jars every year? GIBBS: Enlighten me. ABBY: Three and a half billion. Billion, Gibbs! That's like thirty-five million dollars in pennies. That's a lot of pennies in any language. GIBBS: Including Russian. ABBY: No, Russians don't have pennies. They have kopecks. What does it have to do with Russia? GIBBS: Run his prints through immigration and let's find out. ABBY: Oh, because he's a foreigner and every visitor is printed when they enter the U.S. Clever, Gibbs. Okay, I reviewed the nine one one call. Ready? JACK VALE: (V.O./FILTERED) My name is Jack Vale. This is really important, okay? I've identified a trror1st - a known trror1st. I'm following him downtown right now. Get someone over here. Call NC-- ABBY: NCIS. I'm guessing an over-taxed relay tower in the downtown area caused the line to drop off before he finished. But Gibbs, this guy works in the supply department. And what would he know about trrorists? GIBBS: That's a good question. ABBY: I also isolated the background noise. (SFX: ELECTRONIC /MECHANICAL NOISE) ABBY: It's kind of a Pac-Man-retro-meets-Vegas sort of thing. Not really something you'd hear in a car. GIBBS: He was on foot when he made that call.(SFX: COMPUTER BEEP TONES) ABBY: And we have a winner. Nikolai Aleksandrovich Puchenko. Russian. Uh-oh. And there's a Homeland Security alert. You're not the only one interested in Mister Nikolai Puchenko. CUT TO: INT. INTERROGATION ROOM GIBBS: (IN RUSSIAN) Like I said, Nikolai Puchenko, everyone slips up eventually. PUCHENKO: I want lawyer. GIBBS: Get a good one. Tell him the charge is going to be mrder. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY DUCKY: I'm afraid it's not that simple. Normally, matching the bllet to the wapon shouldn't present us with any great difficulty. But this is far from normal. GIBBS: How far? DUCKY: I haven't seen anything like it in twenty-five years of slicing and dicing. Well, the bllet entered below the rib cage, traveling from left to right. It nicked the pancreas, missed the liver, deflected off the fifth rib, and gouged its way through soft tissue and perforated the stomach. No exit wound. And so that's where it appears to have um... GIBBS: To have um... what, Doctor Mallard? DUCKY: Vanished. It's not in the bllet furrow and it's not showing up on any of the X-rays. I mean, I don't know where it's gone. I'm afraid we don't have a bllet. (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY MCGEE: (V.O.) The nine-one-one call was routed through this tower here. TONY: Anyone ever heard of Operation Sunburst? MCGEE: Which locates Vale somewhere in this area when he made the call. Anywhere outside of the circle, it meant that the call was routed through a different cell tower. TONY: Back in ninety one! Come on! Anyone! Operation Sunburst! MCGEE: About three city blocks. GIBBS: Yes, Abby said the signal dropped out. It probably puts him at the outside edge of the reception area of that tower. MCGEE: That's pretty clever, Boss. How did you figure that out? GIBBS: Too much time around you. TONY: Boss! Operation Sunburst. Do you know it? It was a sting. One of our ops. Chief Vale was part of it. He was just a P.O. Three back then. Detailed from the supply department to NIS for five weeks. GIBBS: Get that file from archives. TONY: I can't! I mean, it's not possible, Boss. I've got the index reference, but when I called the archivist, he said the file was missing. GIBBS: Check the log. Who booked it out last? TONY: CIA. So I guess that's... not a who, it's more of an it. GIBBS: Who was the NIS case agent? TONY: What time is it in Mexico right now? GIBBS: Cantina time. MUSICAL BRIDGE TO: INT. CANTINA - DAY (TV/ MUSIC B.G.) (PHONE RINGS) FERNANDEZ: (INTO PHONE IN SPANISH) Si? Si? (IN ENGLISH) Washington, Senor. FRANKS: (INTO PHONE) Only one person in Washington, D.C., knows where to find me this time of day. How are you doing, Probie?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Well, I'm surviving. You? FRANKS: (V.O./FILTERED) Sun's hot. Ocean's warm. Beer's cold. Got no complaints. (SCENE CUT) FRANKS: (INTO PHONE) You change your mind? (SCENE CUT) GIBBS: (INTO PHONE) Every day. But then something stops me. (SCENE CUT) FRANKS: (INTO PHONE) What's stopping you this time? GIBBS: (V.O./FILTERED) Operation Sunburst. FRANKS: (INTO PHONE) That was a long time ago. (SCENE CUT) GIBBS: (INTO PHONE) You remember a Petty Officer named Vale? (SCENE CUT) FRANKS: (INTO PHONE) Bright guy, right place, right time. Went undercover for us. (SCENE CUT) GIBBS: (INTO PHONE) Yeah, well he was sht dad this morning. (SCENE CUT) FRANKS: (INTO PHONE) And you think this has something to do with Sunburst? (SCENE CUT) GIBBS: (INTO PHONE) Well, you tell me. We've got a suspect. (SCENE CUT) GIBBS: (V.O./FILTERED) A Russian. FRANKS: (INTO PHONE) Arkady Kobach? (SCENE CUT) GIBBS: (INTO PHONE) Nikolai Puchenko. (SCENE CUT) FRANKS: (INTO PHONE) Arkady Kobach is the man you need to worry about. Puchenko and he served together. (SCENE CUT) FRANKS: (V.O./FILTERED) When the Soviet Union started falling apart, they got into the arms trade. (SCENE CUT) FRANKS: (INTO PHONE) Wanted to buy some of our Stingers to sell to Chechen trrorists. They tried to bribe Vale in the supply department. (SCENE CUT) GIBBS: (INTO PHONE) So you sent him undercover? FRANKS: (V.O./FILTERED) Someone tipped them off. They high-tailed it back to Eastern Europe. (SCENE CUT) FRANKS: (INTO PHONE) A month later the CIA stuck its nose in and our file conveniently went missing. What happened to Vale? (SCENE CUT) GIBBS: (INTO PHONE) Oh, he bumped into Puchenko on the street. Recognized him. Tried to follow him. Puchenko sht him. (SCENE CUT) FRANKS: (INTO PHONE) I hope you've got an ironclad case. This piece of scum is way overdue. (SCENE CUT) GIBBS: (INTO PHONE) Yeah. Working on it, Boss. Good luck with the fishing down there. Thanks for the tip. (SCENE CUT) FRANKS: (INTO PHONE) Good luck.(END TELEPHONE INTERCUTS) CUT TO: INT. SQUAD ROOM - DAY GIBBS: We got a case yet, Dinozzo? TONY: Like you said, working on it, Boss. ZIVA: We've narrowed down the area where he was sht. And we do have a suspect in possession of the gn. MCGEE: Which means mrder One. TONY: With a bllet. GIBBS: If we can find one. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN) ABBY: Hi, Ducky! (SFX: DOORS SLIDE CLOSED) ABBY: A penny for your thoughts. Or three and a half billion pennies. (GIGGLES) That was a... was an in-joke. So I have a pristine bllet sample fired from our suspect's thirty-eight. All I need is the bllet you pulled from him. I'll make a match and we'll send the bad guys wherever the bad guys go when we catch them. Where do the bad guys go when we catch them? DUCKY: The bllet disappeared, Abby. ABBY: I thought there was no exit wound. DUCKY: There is no exit wound. ABBY: Well, maybe it fell out, like in his clothes or something. DUCKY: I already checked. ABBY: Or in the evidence bag. DUCKY: Checked. ABBY: Or a body bag. DUCKY: Ditto. ABBY: Well, bllts don't just disappear, Ducky. Unless it's an ice bllet! I saw this really cool movie one time where this guy carved a bllet out of ice-- DUCKY: It's not an ice bllet. ABBY: Do you really think you lost a bllet? DUCKY: I didn't lose it. At least I don't think I did. ABBY: Oh, Ducky. I'd be sick to my stomach if I lost the evidence or screwed something up with a DNA sample, or fingerprint. DUCKY: Of course! That's got to be it! Nothing else makes any sense. Abby, you are a genius! MUSICAL BRIDGE TO: INT. BASEMENT - NIGHT FRANKS: Probie? GIBBS: Yeah. FRANKS: What's this? Number three? GIBBS: Four. FRANKS: I would have thought you'd have been done practicing by now. GIBBS: There's always something to learn, Mike. FRANKS: Hard lessons. GIBBS: Yeah, some harder than others. FRANKS: Got any extra-fine? GIBBS: You didn't waste any time getting here. FRANKS: You were expecting me? GIBBS: Well, I would have been disappointed if you didn't come. FRANKS: Yeah well, let's just say I don't like loose ends, Probie. GIBBS: It would take more than lose ends to get you off that beach in Baja. FRANKS: These scumbags have been selling wapon to tyrants and trrorists ever since they gave us the slip. gn, and bmb, and RPGs used to kll American soldiers and Marines in every hellhole from Mogadishu to Baghdad. It's time it ended. GIBBS: You know who tipped them? FRANKS: Rumor was they'd agreed to supply some new high-tech Soviet mssile to CIA. Guess they figured they wouldn't get their mssile if their arms dealers were in prison, which is exactly where I was going to send them. You've got a chance here, Probie. Don't screw it up. MUSICAL BRIDGE TO: INT. OBSERVATION ROOM FRANKS: (V.O.) Same to you, Nikolai. Who's that with him? TONY: Marty Allen. His lawyer. FRANKS: Hope he's not a good lawyer. GIBBS: Enjoy your tour? FRANKS: Yeah. The place is like a video arcade. You've got more technology in one room than we had in every office across the whole damn country. You know, if I needed to interrogate someone when I worked at Camp Pendleton, I'd take them into the broom closet with a telephone directory. GIBBS: Yeah, no broom closet, no telephone directory, no smoking. FRANKS: Another three reasons why I left just in.... time. SHEPARD: Special Agent Gibbs, may I have a moment? FRANKS: Hoo-rah, gn. ZIVA: You know that guy? FRANKS: Yeah. Like a rat knows a snake. GIBBS: Director Shepard. SHEPARD: Special Agent Gibbs, this is Roy Carver, Homeland Security. CARVER: Agent Gibbs. SHEPARD: Mister Carver is here in relation to a suspect we're holding. CARVER: Nikolai Puchenko. SHEPARD: I'd like you to transfer him into Mister Carver's custody. GIBBS: Why? CARVER: He's working for us. He's providing valuable intel on the arms trade among trror1st groups in Eastern Europe. GIBBS: Was he working for you when he klled the sailor yesterday? CARVER: I read the preliminary autopsy report on that, Agent Gibbs. Seems there's a lack of evidence linking Puchenko to the crime. GIBBS: He was carrying an illegal firearm. CARVER: Not connected to the shting. GIBBS: Yet. CARVER: Well, find evidence that proves he was involved in any serious criminal activity, and I promise, I'll hand him right back to you. SHEPARD: Do we have anything yet, Agent Gibbs? GIBBS: We will. SHEPARD: Until we do, I'm releasing him to Homeland Security. GIBBS: (LONG bat) Ziva, get Puchenko. TONY: (INTO PHONE) Hello, this is Special Agent Dinozzo. David is coming down to pick up Puchenko. (DISSOLVE TO PASSAGE OF TIME) FRANKS: If he walks out of here, you won't see him again. Any evidence you have won't be worth spit. TONY: We haven't got enough evidence to even clear our throat. We can't charge him with anything. SHEPARD: Mister Carver, would you sign these custody transfer forms? FRANKS: Director, may I draw your attention to an NIS case codenamed Sunburst, which dealt with serious allegations of arms smuggling by this man, Nikolai Puchenko. SHEPARD: I'm aware of the case, Mister Franks. CARVER: As I recall, the file was lost, Mike. FRANKS: I made a copy, Roy. CARVER: Jack Vale was the key witness. He's dad. You don't have anyone to testify. FRANKS: I was the case agent. I'll testify. GIBBS: Serious enough charges for you, Director Shepard? SHEPARD: Take him back into custody. I'm sorry, Mister Carver. NCIS is not through with this man. CARVER: Homeland Security looks forward to reviewing the files. ALLEN: This is an outrage! I strongly protest your department's treatment of my client! PUCHENKO: (IN RUSSIAN) You are a dad man!(PUCHENKO CONTINUES SHOUTING IN RUSSIAN) TONY: Hey hey hey.(ZIVA AND TONY REMOVE HIM FROM THE SQUAD ROOM) ZIVA: Come on. SHEPARD: What did he just say? GIBBS: He said, "You're a dad man, Mike." (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY GIBBS: (V.O.) We're taking Puchenko's thrat to kll Frank seriously. So right now, this is who we have to worry about. (ON CAMERA) McGee?(DIALOGUE OVER PHOTOS) MCGEE: Arkady Mikhailovich Kobach. Late forties. Served with Puchenko in the Spetsnaz. That's the Soviet Special Forces. First Afghanistan, then Chechnya. In nineteen ninety, Arkady excuted three clerks in the payroll office because they could not pay his men. He then sht the Colonel who came to arrest him. Been dealing arms ever since. GIBBS: I want a twenty-four hour protection detail. Dinozzo, you're team leader. TONY: You're in safe hands, Mike. FRANKS: I've seen your hands, Dinozzo. They don't impress me. I don't need babysitting, gn. I can look after myself. GIBBS: After spending four months in that crap hole you call home in Baja, I find that highly debatable. TONY: Safe house, Boss? GIBBS: Yep. Mine. Make yourself at home, Tony. TONY: Won't touch a thing, Boss. McGee! MCGEE: (INTO PHONE) We'll be right down. (TO GIBBS) Boss, Ducky found the bllet. DUCKY: (V.O.) It's fascinating where bllts can end up. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: I once found a twenty-two caliber slug in a woman's knee, and she'd been sht in the chest. You see, the bllet entered her heart, was pumped down through the aorta, into the iliac, and on down into the femoral artery. Extraordinary. TONY: So the missing bllet's in his knee? DUCKY: No no. Good heavens no. That's much too easy. And anyway, it would have shown up on the X-rays. ZIVA: So where is it? DUCKY: I have no idea. None at all. GIBBS: You said you found it. DUCKY: Well, I have. I just don't know where. I can, however, tell you how. It was Abby who gave me the idea when she said that she would be sick to her stomach if she ever lost evidence. Sick. That's the key word. So I had Abby run some tests of material I took from his esophagus. And we found traces of protein pepsin along with all sorts of other things such as sulphides, oleic acid, polyphenols. But the smoking gn, so to speak, was the presence of Triticum durum. ZIVA: Pasta? DUCKY: Well, specifically, it's spaghetti cooked with garlic and olive oil. Spaghetti aglio e olio, as the Romans say. Very nice with a glass of San Genovese. Anyway, anyway, when the bllet became lodged in his stomach, he became sick. What you might call projectile vomit. TONY: He puked up the bllet? DUCKY: Yeah, find the puke and you'll find the projectile. MCGEE: So you want us to look for a pile of ... dried-up vomit. DUCKY: Yes, and I'll need a generous sample so I can positively match it to what I found in the victim. Oh, and of course, the bllet. GIBBS: Ziva, McGee, get on to it. MCGEE: Well, Boss, we have narrowed it down to a few city blocks. ZIVA: Vale must have still been on foot when he was sht, or he would have gotten sick in the car. MCGEE: So maybe a parking garage or a parking lot? That narrows it down. GIBBS: Then, go. Go! Don't come back without the bllet. (LONG bat) Where is Mike? I thought you were supposed to be protecting him. (SFX: DOORS SLIDE OPEN/ CLOSED) TONY: I was! I mean, I... he was right here. CUT TO: INT. HALLWAY - DAY (ELEVATOR DINGS/ DOORS OPEN) TONY: He couldn't have gone far, Boss. GIBBS: Don't count on it. TONY: Franks! Franks?(TONY WALKS O.S.) (GIBBS WALKS AROUND THE CORNER) FRANKS: Couldn't find a broom closet. GIBBS: How do you know Carver? FRANKS: Just another spook from the old days that made my job difficult. GIBBS: You never mentioned you made a backup copy of that file. FRANKS: It was a long time ago, Probie. GIBBS: Is it enough? FRANKS: Should do the trick. GIBBS: What's in it? FRANKS: Where'd you learn to be such a pain in the ass? GIBBS: Working with you. There's a lot of people who want to see what's in that file, Mike. FRANKS: Guess they're going to be disappointed. There's nothing to see. But there's plenty to listen to. GIBBS: Vale was wearing a wire. FRANKS: And I was on the other end of it, listening to every word. I dubbed a copy. I tell what I heard, the audio tape backs me up, and everybody's happy. Except for Nikolai. GIBBS: Where's the tape? FRANKS: Safe. GIBBS: How safe? FRANKS: Safe enough that no one's found it for fifteen years. This director... she's okay, I guess. But I get the feeling that you've been working under her a little too long. GIBBS: The world's changing, Mike. FRANKS: All the lines are getting blurred, Probie. Hard for a man not to step over them. And you can call off this protection detail. I can take care of myself just fine. GIBBS: No, I can't do that, Mike. All you have to be is a half a second slower, and you're dad. FRANKS: Or the other guy just has to be a half second faster, just like it's always been. TONY: (SHOUTS) I found him, Boss! FRANKS: Nice work, Dinozzo. CUT TO: EXT. STREET - DAY ZIVA: No Italian restaurants. He must have eaten somewhere else and driven here. MCGEE: Well, it couldn't have been this public. You don't sh*t someone where everyone can see you, do you? ZIVA: I never do. Unless, of course, it can't be helped. Alleys, service lanes, parking lots. You hear that? MCGEE: What am I listening for? (SFX: ZIVA MAKES A MECHANICAL NOISE) MCGEE: It's Abby's mystery sound. (SFX: COINS FALL INTO METAL HOPPER) ZIVA: That explains all the coins. A coin counter. Vale must have been waiting to use it when he saw Nikolai. MCGEE: In the market? ZIVA: Even arms dealers need groceries. MCGEE: Okay, so he made the nine-one-one call, followed Nikolai... into the parking lot. CUT TO: EXT. PARKING LOT - DAY ZIVA: Ground zero. MCGEE: I got puke! ZIVA: That's a lot of regurgitation. It doesn't look fresh. MCGEE: It doesn't smell fresh. ZIVA: Does it ever? That could be blood. MCGEE: Or the Colonel's special dipping sauce. Ah well, we could toss a coin. Or not. All right, give me some gloves. ZIVA: You didn't pack the gloves. MCGEE: I thought you packed the gloves. ZIVA: (CHUCKLES) I didn't pack the gloves. MCGEE: All right, give me something. (SFX: ZIVA GAGS) MCGEE: Oh... ah, there's nothing here. ZIVA: Ay! MCGEE: Ah. Uh... do you have a tissue or something? We have got to buy some gloves. (SFX: MAN VOMITS IN THE ALLEY) ZIVA: This is going to be a long day. CUT TO: INT. SQUAD ROOM - DAY (MUSIC OVER ACTION/GIBBS SEARCHES ON THE WEB) MUSICAL BRIDGE TO: INT. MTAC ROOM - DAY SHEPARD: Need-to-know basis. And this one you didn't need to know. GIBBS: How well do you know Carver? SHEPARD: Um... been with Homeland Security since the start up. GIBBS: Before that. SHEPARD: NSA? GIBBS: Try CIA. In ninety-one he was trying to get a sneak peek at top secret Soviet hardware, which links him directly to Puchenko and Kobach. SHEPARD: Sounds speculative. GIBBS: And if I'm right? SHEPARD: If you're right, it probably was Carver who tipped off Kobach and Puchenko when we were going to arrest them in ninety-one. GIBBS: Hey, and look who pops to get Nikolai off the hook? CIA has a shopping list. Carver is the buyer. I want him taken out of the loop. SHEPARD: You don't seriously think that Carver's leaking information to Kobach on Mike Franks? GIBBS: He did it in ninety-one. No Mike, no case. Puchenko walks. Probably right into a deal with Carver. Jen, listen to me. Take him off the need-to-know list. SHEPARD: Too late. Carver's already been briefed. MUSICAL BRIDGE TO: EXT. GIBBS' HOUSE - DAY TONY: You're supposed to be inside the house, Mike. FRANKS: Nice catch. I must be getting sloppy. TONY: Well, I smelled the cigarette smoke. FRANKS: I can smoke inside if you want. TONY: I don't think that's a good idea. FRANKS: Nope. (PHONE RINGS) TONY: (INTO PHONE) Hello? GIBBS: (V.O./FILTERED) Dinozzo, it's Gibbs. TONY: (INTO PHONE) Oh hey, Boss. We were just talking about you.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) We've got a security problem. Time to go off-script. Where's Franks? (SCENE CUT) TONY: (INTO PHONE) Well, he's right here - Mike? Mike! (F/X: TONY FALLS TO THE GROUND) (SCENE CUT) GIBBS: (INTO PHONE) Tony! (SCENE CUT) GIBBS: (V.O./FILTERED) Dinozzo! Tony!(END TELEPHONE INTERCUTS) (MUSIC UP AND OUT) FADE IN: EXT. GIBBS' HOUSE - DAY TONY: Did I lose any hair? PARAMEDIC: (CHUCKLES) No. GIBBS: How is he? PARAMEDIC: He'll live. TONY: Well, I've been ht harder, Boss, by you. GIBBS: How many were there? TONY: I didn't see. Came up real fast from behind. The rest of our guys deployed from the house in less than thirty seconds, but they were already gone. GIBBS: With Mike? TONY: There must have been two teams. One to take me down, and the other to snatch him. Whoever did it, they were good. Sorry, Boss. So why grab him when all they had to do was kll him? GIBBS: He was holding evidence. TONY: Where? GIBBS: He wouldn't tell me. TONY: Well, I guess you didn't hold a blowtorch to his eyeballs to find out. These guys will.(PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. ABBY: (V.O./FILTERED) Gibbs, the Director wants to see you in her office. GIBBS: (INTO PHONE) Tell her I'm on my way. TONY: Jenny? GIBBS: Jenny? Just how cozy did you two get while I was away? TONY: (CHUCKLES) Boy, that knock to the head must have been harder than I thought, 'cause I'm saying crazy things that I don't even understand! (bat) Do you think she's single? GIBBS: (TO THE PARAMEDIC) He's fine. MUSICAL BRIDGE TO: INT. ALLEY - DAY MCGEE: People should really chew their food more. ZIVA: And drink in moderation. (bat) What's that look like? MCGEE: Not puke. ZIVA: (LONG bat) Blood. MCGEE: This dumpster could have just been moved here. (SFX: MCGEE MOVES THE DUMPSTER) MUSICAL BRIDGE TO: INT. SHEPARD'S OFFICE - DAY (DOOR OPENS) GIBBS: You didn't waste any time. CARVER: Bad news travels fast, especially in this town. How's your agent? GIBBS: Do you really give a damn? SHEPARD: Any update on Mike Franks? GIBBS: No. CARVER: Do you expect to find him, Agent Gibbs? GIBBS: He's a resourceful man. CARVER: No doubt. In the meantime, I'd like Nikolai Puchenko released into my custody. GIBBS: I'm not finished with him. CARVER: But you are, Agent Gibbs. Perhaps your time would be better spent finding out who in your department leaked the location of the safe house where you were keeping your key witness. GIBBS: Did you? SHEPARD: Gibbs. CARVER: No. GIBBS: You did in ninety-one. CARVER: If you would like to have this request formalized, Director Shepard, that can be arranged. SHEPARD: I'm sure you didn't mean for that to sound like a thrat, Mister Carver. But in the meantime, Mister Puchenko will remain in our custody, pending our investigation into the disappearance of Mike Franks. CARVER: Well, I think you need to look closer to home. Maybe there was no leak. Maybe Franks just lost his nerve and ran away. Or Kobach met his asking price. GIBBS: You don't know Mike Franks. CARVER: And you really think you do? Director. (CARVER WALKS O.S.) SHEPARD: You've got about an hour, and then all hell is going to break loose. Jethro? I really hope you know Mike Franks as well as you think you do. (DOOR CLOSES) CUT TO: INT. HOTEL ROOM - DAY (SFX: TELEPHONE BEEP TONES) FRANKS: (INTO PHONE) Marty Allen, please. VOICE: (V.O./FILTERED) One moment. ALLEN: (V.O./FILTERED) Hello? FRANKS: (INTO PHONE) Mister Allen? ALLEN: (V.O./FILTERED) Speaking. FRANKS: (INTO PHONE) Mike Franks. ALLEN: (V.O./FILTERED) NCIS Mike Franks? FRANKS: (INTO PHONE) One and the same. ALLEN: (V.O./FILTERED) What can I do for you? FRANKS: (INTO PHONE) I have something that your client's associate, Arkady Kobach, might be interested in buying. ALLEN: (V.O./FILTERED) What might that be? FRANKS: (INTO PHONE) A one-off copy of the audio tape that will send him and your client to prison for thirty years. ALLEN: (V.O./FILTERED) If he's interested, what would the price be? FRANKS: (INTO PHONE) Five hundred thousand dollars. You get the tape, and I get to go back to Mexico and retire with a sweet little waitress named Camilla Charro. ALLEN: (V.O./FILTERED) I'll have to contact my client. Can I get back to you? FRANKS: (INTO PHONE) Sure. Got a pen? MUSICAL BRIDGE TO: INT. HALLWAY - DAY GIBBS: Hey, what kept him? TONY: Business. GIBBS: God, I hate lawyers. CUT TO: INT. INTERROGATION ROOM (DOOR OPENS/ CLOSES) ALLEN: I demand you release my client, Agent Gibbs. You've got no grounds to hold him. Your key witness has disappeared. You have no case. GIBBS: Oh, you're right. I don't have a case against your client for arms dealing. But I do have one for mrder. CUT TO: INT. OBSERVATION ROOM MCGEE: We deserve a medal. TONY: That look is as close as you're ever going to get, Probie. CUT TO: INT. INTERROGATION ROOM GIBBS: Nikolai, you have a choice. You can spend the rest of your life in prison, or you can cut a deal... and you can tell me where to find your friend, Arkady. MUSICAL BRIDGE TO: INT. APARTMENT - DAY (SFX: DOOR BURSTS OPEN) TONY: Clear! ZIVA: (V.O.) Clear! GIBBS: Clear! McGee! ZIVA: Smoke's from a Russian cigarette. Arkady hasn't been gone long. GIBBS: Come on, double time. (MUSIC OVER ACTION/MCGEE SETS UP THE COMPUTER) (SFX: COMPUTER BEEP TONES) MCGEE: Okay, we're on. Ten calls made in the last day. Three in the last hour and a half. First was to a cell phone, Marty Allen. Second call was to Merchant Bank. And the last call was to a hotel in the port district, El Executivo. Call was made to room seven. GIBBS: Mexican hotel. Names and numbers, McGee, starting with the hotel! CUT TO: EXT. HOTEL - DAY (SFX: CAR BRAKES TO A STOP) GIBBS: (INTO PHONE) Are you sure?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (INTO PHONE) That's what the manager said. Room seven is booked in the name of a Camilla Charro, but it was not a woman that paid cash for the room. It was some old guy. (END TELEPHONE INTERCUTS) MUSICAL BRIDGE TO: INT. HOTEL ROOM - DAY (SFX: DOOR BURSTS OPEN) TONY: Frank's brand. CUT TO: INT. HOTEL CANTINA - DAY (DOOR OPENS/ CLOSES) (KOBACH WALKS TO THE BAR) FRANKS: Beer's cold, but they're all out of lime. I sent the barman to buy some. I told him to take his time. (SFX: FRANKS OPENS THE BOTTLES OF BEER) KOBACH: You've got what I want? And I've got what you want. FRANKS: The truth is, Arkady, you've got nothing I want. KOBACH: You think you are the first to point a gn at me? FRANKS: No. But I will be the last. (SFX: gn) (MUSIC OVER ACTION) (SFX: KOBACH DROPS HIS gn) (SFX: gn) FRANKS: I knew he was over there. I figured I could take them both. Arkady first, then the big guy. Maybe I am a half a second slower. GIBBS: There was no leak, was there? FRANKS: Dinozzo okay? TONY: (V.O.) Boss!? GIBBS: Clear!! (TO TONY) Secure the room. CUT TO: EXT. HOTEL - DAY (DOOR OPENS/ CLOSES) GIBBS: You set yourself up as bait. FRANKS: The bigger the bait, the bigger the fish you catch. Arkady never would have got to court, Probie, and you know it. Carver, or whoever else is pulling the strings, would have made sure of that. Another crappy deal - more innocent people die. If you think I'm not going to sleep well tonight because of what I just did, then you're wrong. I'm going to sleep like a baby because Arkady Kobach was a scary S.O.B. who kept me awake nights for the past fifteen years. GIBBS: Someone else will take his place. FRANKS: That's your problem, Probie. I got my guy. GIBBS: Hey. You got that audio tape? FRANKS: Beer's getting warm. MUSICAL BRIDGE TO: INT. SQUAD ROOM - NIGHT (SFX: KEYBOARDING) (SFX: GIBBS OPENS THE TAPE PLAYER) (SFX: TAPE PLAYS) (SFX: MARIACHI MUSIC PLAYS B.G.) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x04 - Faking It"}	foreverdreaming
MUSIC IN: EXT. HOUSE - DAY JODY: It's a great neighborhood. Very quiet, very private. It has an oversized backyard. That's a big plus. The whole house has been newly renovated. There are upgrades all over the place. Stainless appliances, air-purification system. Total move-in condition. The furniture is rented, but if you like it, I can have the company make you a deal. CUT TO: INT. LIVING ROOM - DAY (DOOR OPENS) JODY: Amy, you are going to love the kitchen, but first I'm going to show you guys the living room. It has a wall-mounted flat screen and a gas log fireplace. You won't believe how easy this is. One push of a button. Isn't that cozy? (SFX: fre LIGHTS) (SFX: JODY GASPS/ SCREAMS) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. LIVING ROOM - DAY "dad AND UNBURIED" DUCKY: Make sure you capture the back of his head, too, if you would be so kind. MCGEE: You got it. JIMMY: Sorry! MCGEE: (OVERLAP) Sorry! DUCKY: There's no rush, gentlemen. Our patient isn't going anywhere. MCGEE: Well, Ducky, the old Gibbs is back. DUCKY: The old Gibbs? GIBBS: McGee! Over here. Hands and knees. On the floor. MCGEE: Okay. Um... you're not going to step on me, are you? Footprints! Footprints. Looking for footprints. It's a pretty tight weave. DUCKY: It looks like sisal. It's a naturally stiff fiber, woven from the leaf of the cactus plant. It doesn't mat, trap dust or build static. Makes it ideal for carpeting, but personally, I prefer a good shag. From a criminal-investigative standpoint. MCGEE: I don't see any dirty footprints. DUCKY: I think it's safe to assume that our friend didn't stroll in here on his own. TONY: You look happy to see me, Boss! (bat) Oh, it's the coffee. Ran the military ID our local LEOs got off the body. Lance Corporal James Finn stationed at Quantico. Went UA when his unit was shipped to Iraq six months ago. MCGEE: Looks like he's got a pretty good reason for not showing. GIBBS: Find out where he was buried. DUCKY: It won't be far, McGee. Had the trip been longer, some bits would have fallen off. MCGEE: Okay, I'll check the backyard. TONY: Scene's not going to sketch itself. (F/X: JIMMY BUMPS INTO TONY) (SFX: JIMMY GROANS) DUCKY: Perhaps it would be better if you fetched the gurney, Mister Palmer. I've seen all I need to see here. JIMMY: Yes, Doctor. (PASSAGE OF TIME) TONY: It's a tidy crime scene. DUCKY: Quite. It appears to be a body drop. A tertiary crime scene. Or quaternary. Or quinary. I could go on. TONY: Oh, you did. It's an odd decorating choice. Although the corpse does give the place a certain lived-in look. DUCKY: You can see, he brushed the dirt off his face. TONY: Oh, geez!! (F/X: TONY BUMPS INTO GIBBS) TONY: Sorry. DUCKY: Hello. (CHUCKLES) Nicrophorus americanus. Also known as the carrion beetle. Come here, you little monkey! Ah ah! Yeah, a reminder that Shakespeare got it wrong. We are not food for worms. It's the flies and beetles that feast upon us. GIBBS: I'm more interested in why someone did this, Doctor. DUCKY: Well, then I'll have to research the predatory, manipulative, grandiose nature of this behavior. But my first impression is that we're dealing with a complete loon. TONY: That Master's in psych is starting to pay off, Ducky. (SFX: DUCKY CHUCKLES) CUT TO: EXT. HOUSE - DAY JODY: Merciful God in Heaven! I have seen a lot of things selling real estate, but can you imagine walking in and seeing that? ZIVA: When was the last time you were here? JODY: Yesterday morning for a showing. ZIVA: And everything was normal? JODY: There was no rotting corpse in the living room if that's what you mean. ZIVA: Who else had access? JODY: A couple of dozen real estate women. The keys are in a lock box on the front door. ZIVA: Who's the owner? JODY: A local contractor... and me. I buy and Bob fixes. We split the profits. ZIVA: Bob? JODY: Robert Whitehead. The contractor. ZIVA: A number where he can be reached? JODY: Yeah. ZIVA: So who put the body here? You or Bob? JODY: Neither of us! You know, it is an empty house. If you're looking to ditch a body, that's a real plus. RICK: Jody! I came as fast as I could. Are you okay? JODY: It's my husband. I called him. (TO RICK) Just duck under the tape, Rick. ZIVA: Stop! It's a crime scene! RICK: Crime scene. Honey, you all right? ZIVA: She's fine. JODY: I am not fine. I had to cancel my one o'clock showing! MCGEE: (V.O.) I think I found where he was buried... CUT TO: EXT. BACK YARD - DAY MCGEE: I checked for footprints, but it rained last night. So everything is pretty washed out. GIBBS: You got access? MCGEE: Well, there's side access at street level. Chain link fence around the yard, but anyone with gloves could have scaled it. ZIVA: Wait for me! TONY: Did the real estate agent solve the big mystery? ZIVA: No. But she owns the property with a contractor, and every real estate agent in town had access. TONY: I think the mystery is how they expect to sell a house for six hundred grand when it only has two and a half bathrooms. MCGEE: Well, you know what they say. Location, location.... location. So, judging from the marks around the edges, I'd say the digger used a garden spade. The soil is not real packed, so it would have been easy digging for a male or female. GIBBS: You see that? MCGEE: Black plastic bags. TONY: Garbage bags. GIBBS: Body bag. Get it back to Abby. Have a soil sample. I want ground-penetrating radar. MCGEE: Uh, Boss, those techs are booked weeks in advance. I'm going to tell them it's an emergency, and I will not budge until they show. GIBBS: Who's staying with McGee? ZIVA: I can, if you want Tony to check out the other real estate women. TONY: Fine with me. GIBBS: Tony! Stay with McGee. ZIVA: You shouldn't have licked your chops like a hungry wolf. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY TONY: Much better. Before I smelled like dirt and sweat. Now I smell like dirt, sweat, and sandalwood. ZIVA: Good morning! What are you doing at my desk?! TONY: I couldn't find my deodorant, so I used yours. ZIVA: You, you didn't. TONY: Yeah, we're partners. What's the big deal? ZIVA: A hair! TONY: Come on. You attach electrodes to men's testicles. You're getting squeamish about a hair? I'm not going to feel bad. Those ground-radar techs didn't show 'till dawn. McGee and I watched the sunrise together. It was very "Brokeback Mountain." MCGEE: He had me at "Howdy." ZIVA: How romantic. I'm sorry I missed it. MCGEE: Well, I can show it to you on my new phone. It takes video. Behold the majesty of the sun. ZIVA: On a two inch screen? Are we all getting those? MCGEE: Nope. I bought it. ZIVA: Expensive? MCGEE: Not really. TONY: Ha! Yeah, really. You've been dropping a lot of cash lately, McGee. New phone, new watch, new teeth. What's up? GIBBS: Ducky matched the dental records. The body downstairs is Lance Corporal Finn. Ziva, when did you - McGee! How long does it take to put on a clean shirt? MCGEE: Ten seconds. With buttons a little longer. (bat) Rhetorical question. ZIVA: Contractor's off the hook. He's been out of town for a week. Going to check on the real estate agents this morning. TONY: That's all you did? ZIVA: No, while you and McGee were watching the sunrise, I was pulling Lance Corporal Finn's SRB, and I have to say it was.... spotty. He was UNC on the range and failed his swim qual. GIBBS: So they made him a supply clerk. ZIVA: Right. Six months ago he signed out on a three day pass before deploying to Iraq, and he never returned home. GIBBS: Get me his C.O. TONY: He's in Iraq. (bat) I'll contact MTAC. MCGEE: I've put in a request for Finn's bank records, earning statements, and medical records. TONY: Night wasn't a total loss. Ground radar picked up a shovel about ten feet from the gravesite. Already sent it to Abby. (GIBBS WALKS O.S.) MCGEE: Yep. The old Gibbs is back. CUT TO: INT. ABBY'S LAB - DAY GIBBS: Do you see something, Abs? ABBY: Beauty. I mean it's tragic, but if you were to see this tableau in a museum, you'd swear it was a brilliant commentary on the human condition. GIBBS: What? A corpse staring at the TV set? ABBY: It says it all. GIBBS: Well, it doesn't say who put him there, or why? ABBY: That's for us to find out. (GASPS) You shaved your mustache! I liked you with a little hair on your face. GIBBS: I've still got my eyebrows. ABBY: Good point. I found Finn's blood, hair, and fingerprints on the plastic. So he was probably wrapped in it. But I didn't find any other prints on the plastic or the shovel. GIBBS: Any chance of grabbing the gravedigger's sweat off the handle? ABBY: After being underground, it's unlikely. Strange case, huh? I had this friend once that used to display road kll in his living room. He got an NEA grant -- GIBBS: Abby? ABBY: Next I analyzed the soil. It's compost material, rocks, and small sticks. Nothing's over an inch long. That indicates it was processed through a screen. GIBBS: Pretty clean for dirt. ABBY: Well, it's a commercial product. But the house was just re-landscaped, so it's not surprising. I sent the acidity levels to Ducky. I then inventoried Finn's personal items. GIBBS: Got anything with a date on it? ABBY: Nope, sorry. No credit card or purchase receipts. I guess he was a cash guy. I mean, if you can call a guy with thirty-one dollars and seventy-one cents a cash guy. His clothes were Dockers from Sears. No judgments. The shirts are large, the shoes are off-brand. And his underwear are boxer/briefs, like you wear, Gibbs. GIBBS: You're fishing, Abs. ABBY: So, are they regular boxers? Trunks? Bikinis? Nothing?(GIBBS WALKS O.S.) CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Mister Palmer, have you finished the chromatographic analysis of his volatile fatty acid? JIMMY: Yes, Doctor. DUCKY: Well, let's plug the numbers into the computer and see how long our friend has been leaking into the topsoil. Agent Gibbs will be here soon, and he will ask... (SFX: DOORS SLIDE OPEN) GIBBS: How'd the Lance Corporal die, Doctor? DUCKY: How he died may take me a while. Try when did he die? GIBBS: That's my next question. DUCKY: That I can answer. It's a tricky calculation. One has to factor in temperature, soil acidity, and the variety and volume of insects who now call Lance Corporal Finn home. GIBBS: Give me a round number. JIMMY: Ninety-two days with a three percent margin of error. DUCKY: It would appear you deserted before you died. (SFX: DOORS SLIDE OPEN) ZIVA: Gibbs, Lance Corporal Finn's fiancé is upstairs. She saw a report in the local news last night. GIBBS: How, Doctor? DUCKY: As soon as I know, you'll know. (SFX: DOORS SLIDE OPEN) ZIVA: Her name is Siri Albert. She's twenty-five. CUT TO: INT. SQUAD ROOM - DAY ZIVA: Lives in Manassas and works as a physical therapist. TONY: Finn's fiancé is here. I put her in the conference room. ZIVA: You did? I did! TONY: No, I did. ZIVA: His fiancé? TONY: Yeah, his fiancé. ZIVA: Tall. Light brown hair. TONY: Red head.(DOOR OPENS) (MUSIC UP AND OUT) MUSIC IN: INT. CONFERENCE ROOM - DAY SIRI: Someone has made a huge mistake. James isn't dad. He's been writing me letters from Iraq. ZIVA: It's a common name. SIRI: The news said he was born in Jackson, Pennsylvania. It's a small town. ZIVA: That James Finn has been dad three months. SIRI: He left for Iraq three months ago. I saw him the morning he went away, and I just got a letter from him last week. He says he misses me and he's working a lot. GIBBS: We'll need those. SIRI: Okay. But I want them back. CUT TO: INT. SQUAD ROOM - DAY REBECCA: It's his handwriting. I recognize it. They've been coming for months. Now I want to know who that other woman is!? TONY: We're not here to talk about that. REBECCA: Is she saying that she's engaged to Jimmy, too? (LAUGHS) 'Cause if that's true, he'd better hope he's dad, or else I'll kll him! MUSICAL BRIDGE TO: INT. CONFERENCE ROOM - DAY SIRI: James and I connected on a deep spiritual level. From then on, anytime he was in town, he was with me. ZIVA: How often did you see him? SIRI: He would come and go a lot, but I understood. That's how it is with Special Ops. ZIVA: Lance Corporal Finn's record does not indicate he was involved with Special Operations. SIRI: He said his missions were top secret. He wanted to tell me more, but he didn't want to put me in danger. TONY: (V.O.) When did you last see... CUT TO: INT. SQUAD ROOM - DAY TONY: .... Lance Corporal Finn? REBECCA: Six months ago, before he left for Iraq. TONY: How'd you meet? REBECCA: At a bar two years ago. I was there with some girlfriends, and when I got up to go to the lady's room, he blocked my path. Said he couldn't keep his eyes off of me. MCGEE: And that worked? REBECCA: What worked is that when we talked, he had something to say. Most guys won't shut up about their online wr games. But this guy, he had seen real action. And I was feeling patriotic that night. So I invited him to come home with me. The sex was fantastic. CUT TO: INT. CONFERENCE ROOM - DAY ZIVA: When did you two get engaged? SIRI: About a week before he left. James wanted to borrow thirty thousand. ZIVA: Did he tell you what the money was for? SIRI: Gambling debts. And if he didn't pay, they were gonna hurt him. GIBBS: Who? SIRI: He said it was better if I didn't know, because of the danger. REBECCA: (V.O.) Look! MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY REBECCA: I didn't give him the money! I loaned it to him. MCGEE: So you drew up a legal document? REBECCA: No, but we had an oral agreement. I mean, he promised to pay me back... with interest! I mean, I maxed out all of my cards! So you better find that money! MUSICAL BRIDGE TO: INT. CONFERENCE ROOM - DAY ZIVA: What was he like the last time you saw him? SIRI: He was sweet. We made love right before he left. GIBBS: Did he use a condom? SIRI: I'm on the pill. (bat) We were engaged. CUT TO: INT. HALLWAY - DAY GIBBS: (INTO PHONE) Abs, can DNA still be recovered from Lance Corporal Finn's skivvies?(BEGIN TELEPHONE INTERCUTS) ABBY: (V.O./FILTERED) It would take the ... (SCENE CUT) ABBY: (INTO PHONE) ...cooperation of weather and protection. He was wrapped in plastic, and it's been cold, so there's... (SCENE CUT) ABBY: (V.O./FILTERED) ... a decent chance. GIBBS: (INTO PHONE) Well, run the tests. We'll do a cheek swab on his fiancés. ABBY: (V.O./FILTERED) Wait. (SCENE CUT) ABBY: (INTO PHONE) Did you say fiancés? Like plural? Huh. Kinky! (END TELEPHONE INTERCUTS) CUT TO: INT. CONFERENCE ROOM - DAY SIRI: Ah. Is that it? ZIVA: For now, Siri. I need to follow you home and pick up his belongings. SIRI: I want them back when James returns. ZIVA: He's dad. He can't return. SIRI: Look, I know he's not dad. I would feel it in my heart. We're soul mates. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY (SFX: SIRI GASPS/CRIES) SIRI: (CRYING) No. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY TONY: Agent Lee, I need legal help. We have a suspect who's refusing a cheek swab. LEE: I'll file for a DNA search warrant. What's the name? TONY: Rebecca Kemp. I'll email you the info. Listen, do you miss working with us? LEE: I think the legal department is more my speed. Why? Do you miss me? TONY: Uh, sure. (TO GIBBS) Boss! Agent Lee is getting us our cheek swab. GIBBS: Is Rebecca paranoid or guilty? TONY: Uh, might just be angry. At Finn, us, and the world. GIBBS: Go back with her to her apartment. Get Finn's stuff. And no, I don't want to wait for a search warrant. (REBECCA SIGHS) (ZIVA AND SIRI WALK INTO THE SQUAD ROOM) ZIVA: I'll grab my coat. Wait at the elevator. SIRI: Okay. REBECCA: Hey, you! Where's my money!? Yeah, you! Did you and Jimmy spend it!? SIRI: Please get away from me! I don't know you. REBECCA: I am Jimmy's fiancé. SIRI: James loved me!! REBECCA: He used you. SIRI: (SHOUTS) You liar!! (SFX: GIRLS FIGHT/WRESTLE) TONY: Chick fight! REBECCA: Get off of me!(MUSIC OVER ACTION/GIRLS FIGHTING) SIRI: Get off! Get off of me! ZIVA: Stop it! GIBBS: Hey, get off her! Get off her!(ELEVATOR DINGS/ DOORS OPEN) (SFX: GIRLS SHRIEK B.G.) GIBBS: Get up!!(SFX: REBECCA GASPS) CUT TO: INT. AUTOPSY ROOM - DAY GIBBS: How'd this guy die, Doctor? DUCKY: As I told you, when I know, you'll know. GIBBS: Know faster. DUCKY: Shaving off your mustache has brought back your usual impatience. GIBBS: Good! That means I'm doing my job. DUCKY: I do have a potential cause of death, but it's by no means airtight. You see this fracture? GIBBS: Well, yeah. You're pointing right at it. DUCKY: The brain revealed an epidural hematoma, verified by this CAT scan. Though it's far from massive. Statistically, it's only fatal in about seventeen percent of cases. GIBBS: Blunt force trauma? DUCKY: Most likely. We're looking at a baseball bat or a golf club. Perhaps wielded by a disgruntled fiancé. GIBBS: You tell me how, I'll figure out who. (SFX: DOORS SLIDE OPEN) MUSICAL BRIDGE TO: INT. MTAC ROOM - DAY SHEPARD: (INTO PHONE) Intelligence has placed La Grenouille in Nairobi. That might mean a shipment to Somalia. We'll continue to monitor these activities. Just do your best. GIBBS: Mission trouble? SHEPARD: That's need-to-know. Initiate the video conference Special Agent Gibbs requested. (TO GIBBS) Have you figured out why somebody would unbury a body? GIBBS: That's need-to-know. SHEPARD: You can't pull that one with me, Jethro. I'm your boss. TECHNICIAN: (V.O.) Iraq standing by, Ma'am. STENGEL: (ON MONITOR) I got your email concerning Lance Corporal Finn. I assume you've been over his SRB. GIBBS: Yeah, we have, Skipper. We'd like to know what's not on the record. STENGEL: (ON MONITOR) Finn wasn't one of my stronger Marines. Wasn't surprised he went U.A. GIBBS: Did he have any enemies in the company? STENGEL: (ON MONITOR) He was well-liked. Played poker. Not well, but covered his debts. Liked to talk about his sexual exploits in detail. You know how Marines love that. GIBBS: How does a dad Marine stateside send letters home from Iraq? STENGEL: (ON MONITOR) I wondered about that myself. Get over here, Marine! Meet Lance Corporal Hagan... soon to be Private Hagan. Before deployment, Finn gave him... a couple hundred bucks to pop letters in the mail to two women. First batch started six months ago. The second three months later. Got enough to last the rest of our deployment. GIBBS: I'm going to need those. STENGEL: (ON MONITOR) I'll send them on the next flight out. SHEPARD: Two fiancées....is that a Marine thing? GIBBS: Oh, that's need-to-know, too, Director. MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY ABBY: Do you see it yet? MCGEE: No. ABBY: Keep looking! MCGEE: Abby, I've been staring at this thing for five minutes. I don't see anything that I would consider to be art. ABBY: But you took the picture! MCGEE: Just because Ducky told me to. I'm sorry. ABBY: That's okay. I'm sure you find other things beautiful. MCGEE: Like Gibbs breaking up a chick fight? ABBY: I can't believe I missed that! MCGEE: Well, I've got good news. Guess what is now playing on McGee TV? ABBY: I hug and kiss technology! (SFX: VIDEO PLAYS) SIRI: (ON TAPE) You liar!!(SFX: GIRLS SHOUT B.G.) ABBY: Oh, meow! Which one's Siri? MCGEE: The one Gibbs is pulling off the other girl. ABBY: It's always good to have a face to put with genetic material. MCGEE: Did you get a match on her off of Finn's clothing? ABBY: Yeah, but not just her. There's a party in Finn's pants. I found genetic material from two distinct females. MCGEE: Siri and... ABBY: The mystery woman. MCGEE: That would explain why Rebecca refused a cheek swab. Told us she hadn't seen him in six months. ABBY: Play it again. MCGEE: Plus, Rebecca's got a lot of anger in her. ABBY: Oh, I wouldn't assume Siri is innocent. MCGEE: Why not? ABBY: Look at the fight. Siri initiates it. She may not be as sweet as she looks. GIBBS: (ON TAPE) Get off her! ABBY: This is my favorite part. GIBBS: Which part? CUT TO: INT. EVIDENCE GARAGE - NIGHT TONY: I was lucky to get out of Rebecca's apartment alive. She threw this at my head. ZIVA: Wow. Finn was reading Moby Dick? TONY: No, she was throwing it. I took it so she couldn't re-arm. ZIVA: Okay, let's see what he had at Siri's place. Razor and a toothbrush. TONY: Razor and a toothbrush. ZIVA: Three pairs of white underwear. TONY: Three pairs pinkish underwear. ZIVA: One white sock with a gold toe. TONY: Don't you hate it when you leave one black sock at one fiancé's house, and the other one at the other's house? ZIVA: One pair of blue jeans. TONY: One black mesh t-shirt. Do women really like these? ZIVA: Depends on who's wearing it. TONY: So if I'm-- ZIVA: No! It's not much to go on.(SFX: DOORS SLIDE OPEN/ CLOSE) TONY: Only one place left to check. Ha ha! ZIVA: Ha! Tony just put his hands in another man's pocket, and it made him very happy. TONY: Found a pre-paid calling card. GIBBS: That's it? ZIVA: Yes. GIBBS: No engagement rings? TONY: Do you want those, too? (bat) I'll go to Siri's and get the ring, and any other gifts Finn might have given her. McGee, you've got Rebecca. ZIVA: How could they have been so clueless? GIBBS: Well, he's dad, so maybe they weren't. (PHONE RINGS) ZIVA: (INTO PHONE) Officer David.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) JODY: (INTO PHONE) This is Jody Carvell. I am standing outside... (SCENE CUT) JODY: (V.O./FILTERED) .... Of the Larson Lane house. (SCENE CUT) JODY: (INTO PHONE) Are you aware that the police tape is still up? (SCENE CUT) ZIVA: (INTO PHONE) Yes, it's an ongoing investigation. (TO GIBBS) It's the real estate agent. JODY: (V.O./FILTERED) Okay... (SCENE CUT) JODY: (INTO PHONE) ....for how much longer? It costs me money every day I can't show... (SCENE CUT) JODY: (V.O./FILTERED) ... this house. ZIVA: (INTO PHONE) Yes, but I... JODY: (V.O./FILTERED) This is outrageous. You clearly don't get it. ZIVA: (INTO PHONE) No, I'm sorry-- JODY: (V.O./FILTERED) I would like to speak to your supervisor, if I could. ZIVA: She wants to have a word with my supervisor. (GIBBS HANGS UP THE PHONE) (SFX: DOORS SLIDE CLOSED) CUT TO: INT. HALLWAY - DAY (KNOCK ON DOOR) MCGEE: Ms. Kemp, it's NCIS. We need to speak with you again. (KNOCK ON DOOR) (DOOR OPENS) CUT TO: INT. LIVING ROOM - DAY MCGEE: Rebecca? Rebecca? What happened? Did you call nine one one? Hold on. (INTO PHONE) Yes, I've got a woman here who's sht, needs immediate medical attention! (REBECCA GASPS) (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY ON MONITOR: Why would someone unbury a body?(SFX: KEYBOARDING) TONY: (V.O./READS) "Why would someone unbury a body?" (ON CAMERA) I can answer that. To send the message. Like, "Hi, I'm dad." "Never get engaged to two women at the same time?" ZIVA: It would be easier to just rent a billboard. Second question. (ON MONITOR) Where's the money? TONY: (V.O.) Where's the money? (ON CAMERA) Ah! Maybe in Siri's engagement ring. I've got to bring this down to Abby. ZIVA: I can save you an elevator trip. (SFX: ZIVA EXHALES ON THE RING) TONY: Oh, that's nice. ZIVA: It's creating condensation. On a real diamond, that evaporates immediately. TONY: It's staying. ZIVA: Because it's a fake. TONY: Give it one more try just to make sure. ZIVA: I'm not blwing on you again! Question three. TONY: (READS) Why buy a shovel? ZIVA: Oops! No, sorry. TONY: (READS) Why bury a shovel? Yeah, I have no answer to that idea. But here, how about this one? (SFX: KEYBOARDING) (ON MONITOR) Who is Darkman? ZIVA: (READS) Who is Darkman? TONY: That is the question. Liam Neeson in the nineteen-ninety cult classic directed by Sam Raimi about a mentlly unstable scientist who seeks revenge. GIBBS: You left out "Who sht Rebecca?" ZIVA: That was my next question. TONY: Siri claims she was out walking at the time of the sh*ting. No witnesses. GSR test came back negative. ZIVA: Even if Siri sht Rebecca, I don't think she klled Finn. I saw her face when she saw his body. TONY: If Siri is innocent, she'd assume that Rebecca's guilty and she'd seek revenge. ZIVA: shting someone in broad daylight is just dumb. GIBBS: Well, you're not thinking like a jealous woman, Ziva. MCGEE: They're keeping Rebecca in the hospital overnight. She lost a lot of blood, but the wound was through and through. GIBBS: Anything on the sht? MCGEE: Said she didn't get a good look at her. TONY: How'd she know it was a her? MCGEE: Rebecca said she heard a female voice at the door. When she opened it, bang. TONY: Siri. MCGEE: Maybe not. When I went back to search Rebecca's place, I found this between couch pillows. GIBBS: Rebecca sht herself. MCGEE: I think so. She lost a lot today. Her fiancé, her life savings. ZIVA: Her respect. MCGEE: Could have been a failed su1c1de attempt. TONY: Or a bid for sympathy. ZIVA: Or an attempt to escape discovery that she had sex with Finn the day he died. TONY: What's your gut tell you, Boss? GIBBS: Take your shirt off. TONY: There we go. MCGEE: Well, I know it's kind of messy... GIBBS: Your shirt, McGee. Take it off now. (MUSIC OVER ACTION/MCGEE TAKES OFF HIS SHIRT) GIBBS: Take it down to Abby. Or would you rather wait for a search warrant? MCGEE: Rebecca's DNA. I need to borrow one of your shirts. TONY: Are you afraid all that white might burn out Abby's corneas? MCGEE: Do not make me walk around like this all day. Come on, help me out. TONY: All right, I can't resist a damsel in distress. Here. Take this. I'll get a fresh one. ZIVA: Wow, it's just like Chippendale's.... without the bow ties or muscles. CUT TO: INT. SHEPARD'S OFFICE - DAY (DOOR OPENS/ CLOSES) SHEPARD: Give me a second. I just have to finish this email to Kofi Annan. GIBBS: Kofi can wait. SHEPARD: What is it, Jethro? GIBBS: The Finn case. SHEPARD: Yes? You're lost on this one? GIBBS: Puzzled. They barely knew Finn, yet they let him move in. Loaned him money. SHEPARD: They trusted a man who took advantage them. If you're in a relationship and the other person is keeping secrets, how would you know? GIBBS: You'd know. SHEPARD: I didn't. GIBBS: Who lied to you? SHEPARD: You did! Not exactly lied, but you just didn't tell me the whole truth either. GIBBS: You're comparing me to Finn? SHEPARD: I'm just saying that you can be involved with someone without fully knowing them. How could you not tell me about your family? GIBBS: Finish your email. SHEPARD: You wanted my advice. Just don't be too hard on the fiancés. Finn duped them. And I shouldn't have brought up the past. I know you had your reasons for not wanting to talk about it. (DOOR CLOSES) GIBBS: We're talking about it now. SHEPARD: Now is not Paris. GIBBS: Your priorities were clear in Paris. SHEPARD: I had a job to do in Europe. GIBBS: If I had told you about my first wife, would it have made a difference? SHEPARD: We'll never know, will we? (DOOR OPENS/ CLOSES) MUSICAL BRIDGE TO: INT. BASEMENT - NIGHT (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) DUCKY: (INTO PHONE) You went home early. GIBBS: (V.O./FILTERED) I stayed until twenty-one thirty. DUCKY: (INTO PHONE) Oh, that's early for you. (SCENE CUT) GIBBS: (INTO PHONE) You called to talk about my work hours, Doctor Mallard? DUCKY: (V.O./FILTERED) No, Agent Gibbs. (SCENE CUT) DUCKY: (INTO PHONE) I had a hunch which led me to trim-- (SCENE CUT) DUCKY: (V.O./FILTERED) ... Lance Corporal Finn's nose hairs. (SCENE CUT) DUCKY: (INTO PHONE) I don't think he'd done it for some time. I discovered something under the microscope. Among the keratin proteins, I found translucent fibers of glass. (SCENE CUT) DUCKY: (INTO PHONE) Fiberglass? DUCKY: (V.O./FILTERED) Exactly. He must have.... (SCENE CUT) DUCKY: (V.O./FILTERED) .... inhaled them in. I'd say most likely ... (SCENE CUT) DUCKY: (V.O./FILTERED) ...from insulation. GIBBS: (INTO PHONE) Maybe the house wasn't just a body drop. DUCKY: (V.O./FILTERED) Oh, he's speaking softly... (SCENE CUT) DUCKY: (INTO PHONE) ...but Lance Corporal Finn has more to say.(END TELEPHONE INTERCUTS) CUT TO: INT. BASEMENT - NIGHT (SFX: GIBBS FLIPS HIS CELL PHONE CLOSED) CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: Ah, would you mind cleaning up, Mister Palmer? JIMMY: Not at all, Doctor. DUCKY: I know you've been putting in long hours recently. DUCKY: Well, I appreciate the can-do attitude. Good night! JIMMY: Good night, Doctor. (ELEVATOR DINGS/ DOORS OPEN/) DUCKY: Agent Lee! You're working late. LEE: Still organizing paperwork on the Weaton case, Doctor Mallard. I need the autopsy report. DUCKY: What happened to the one I sent up to legal yesterday? LEE: I'm afraid I shredded it by mistake. DUCKY: Well, you must be more careful. LEE: I know. I'm sorry, Doctor Mallard. DUCKY: No worries. (ELEVATOR DINGS/ DOORS OPEN) DUCKY: I'm sure Mister Palmer will give you what you need. LEE: Okay. Thank you! (SFX: DOORS SLIDE OPEN/ CLOSED) (SFX: LIGHT CLICKS OFF) (MUSIC OVER PASSIONATE KISSING) (SFX: MOANS AND SQUEALS B.G.) CUT TO: INT. LIVING ROOM - DAY WHITEHEAD: WHITEHEAD: That's about how it looked three months ago. The living room floor is the last thing we closed up. (CONT.) We ran the AC ducts under this section. The damn inspector was weeks late. GIBBS: Do you have security at night here, Bob? WHITEHEAD: Not on a job this size. We used standard fiberglass insulation, CDX sub floor. Do you see something? GIBBS: Yeah, your joist. Twenty-four inches on center. I'd have built it at sixteen. WHITEHEAD: Then you wouldn't have made a profit. GIBBS: That joist there look discolored to you? WHITEHEAD: Could be mold. GIBBS: Mold spreads from the bottom up. TONY: Amido Black. On it, Boss. MCGEE: (INTO PHONE) We'll be there soon. (TO GIBBS) Boss, Abby ran the pre-paid phone card we found in Finn's pocket. It had only one call on it. It was to a self-storage company in Dale City, Virginia. GIBBS: Good. Call the storage facility. MCGEE: I did. I was just taking a breath. I called the self storage place. Finn paid for the unit in cash. Only signed in once. So I figure that Ziva and I should probably go down there and check it out. Sorry about the breath. TONY: Kind of reminds me of Pacific Heights. GIBBS: Don't tell me. A movie. TONY: Yeah, interesting plot. Yuppie couple buys their dream house. And then the tenant from hell tries to destroy it. Michael Keaton's best work. It looks like organic material. Would a two by six match Finn's head injury? GIBBS: Ducky thinks a blunt object ht his temple. TONY: Or maybe his temple ht a blunt object? Which would have landed him nose first in this insulation. JODY: Oh, my god! Bob! Why are you letting them destroy our property? WHITEHEAD: They're cops, Jody. GIBBS: What is she doing here? WHITEHEAD: I called her. She should know what's going on. JODY: Well, it's coming out of your profits, Bob! WHITEHEAD: What a minute, Jody! JODY: That sisal's expensive! TONY: You need to calm down, Mrs. Carvell. JODY: Calm down? I just found a dad guy in the living room. And I am losing money every day. Oh, and my father just died of leukemia, so don't you tell me to calm down! CUT TO: EXT. SELF STORAGE UNIT - DAY MCGEE: I'm thinking before we open this up, maybe we should rub some Vicks under our noses.(SFX: CAR BRAKING STOP) ZIVA: I don't think we'll find a body. MCGEE: I hope not. I hate that. CUT TO: INT. STORAGE UNIT - DAY (SFX: STORAGE DOOR SLIDES OPEN) ZIVA: Nothing? MCGEE: Well, whatever Lance Corporal Finn was planning on putting in here, he didn't get a chance to. ZIVA: McGee, give me your flashlight. MCGEE: What, you didn't bring your own? ZIVA: It's too heavy. It pulls my pants down. Now close the door. (SFX: STORAGE DOOR SLIDES CLOSED) (PASSAGE OF TIME) ZIVA: To the right! To the right! MCGEE: Yeah. ZIVA: Just... more to the... more to the left. MCGEE: I'm doing it. Okay. ZIVA: Okay, hold it! MCGEE: Yeah!(SFX: ZIVA GRUNTS) ZIVA: Ah... (SFX: MCGEE GRUNTS) ZIVA: Ah, too small to hold a body. MCGEE: Big enough to hold a head. (bat) Is that what I think it is? ZIVA: Oh, yes. Gold. MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY TONY: Hey, got another DNA sample to test. It's a rush job. ABBY: Oh, should I put it in front of my other rush jobs? TONY: Yes. ABBY: Okay, I'll make it a rush rush job and I'll get right on it. Unless I get a rush rush rush job. TONY: Thanks, Abs. ABBY: Hey, um.. could you tell Gibbs that I got the results back from Rebecca's DNA. It does not match the genetic material in Finn's shorts. TONY: That means we're.... ABBY: Looking for a third woman. (MUSIC UP AND OUT) FADE IN: INT. AUTOPSY ROOM - DAY (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) DUCKY: Since you revisited the crime scene, I decided I want to revisit the body. Something is troubling me. TONY: Me, too. DUCKY: Oh, what's that, Tony? TONY: Well, Finn had two entrees and still had room for dessert. Makes me wonder if there was anything, you know, special about him? DUCKY: Like what? (bat) Oh, like that! Did he have extra women because he had something extra for the women? Well, take a look for yourself. Sadly, the first thing the maggots eat is the soft tissue. Still, you've given me an idea. (SFX: DRAWER SLIDES OPEN) TONY: To vomit? DUCKY: No, to reexamine the soft tissue. Thanks, Tony. TONY: I do what I can. Ducky, is there anyway to psychologically "unsee" something? CUT TO: INT. SQUAD ROOM - DAY ZIVA: Finn's bag contained one hundred and twenty ounces of gold, worth about seventy-eight thousand, four hundred dollars at today's conversion rate. GIBBS: Mint numbers? MCGEE: We're tracing them now. The coins were purchased over the Internet in three batches. I should have the dates here in a moment. ZIVA: We figured sixty thousand came from the fiancés and Finn must have tossed in the rest. (INTO PHONE) Officer David. MCGEE: Okay, first batch of gold purchased nine months ago, and paid for with a money order. The second batch... ZIVA: That was Abby. She was searching non-standard databases with the third woman's DNA. She got a ht on a bone marrow donor bank. GIBBS: Pull it up. ZIVA: That's not what I expected. GIBBS: Her father died of leukemia. Pick her up. Take Dinozzo with you. MUSICAL BRIDGE TO: EXT. FINN HOUSE - DAY (SFX: CAR BRAKES TO A STOP) TONY: You interrogated her and didn't pick up she had sex with Finn? ZIVA: It was an interview, not an interrogation. And excuse me if my brain didn't go to the sex place. (SFX: CAR DOOR CLOSES) TONY: Mine would. ZIVA: I'm sure that's why you have a leg up on other investigators. TONY: See? You say "leg up?" I instantly went to the sex place. (SFX: CAR ACCELERATES) ZIVA: (SHOUTS) Hey! TONY: (SHOUTS) Hey! Pull over! Hey stop! (SFX: TIRES SCREECH) TONY: Stop! (SFX: CAR DOOR OPENS) JODY: I'm sorry. I need to go. I have a showing. TONY: NCIS. RICK: What's going on? Hey! Hey! Stop pointing the gn at my wife!(DOOR CLOSES) ZIVA: She tried to rat on us. TONY: She means rabbit. ZIVA: Rabbit, yes! JODY: I was in a hurry for a showing. RICK: What? Are you arresting her? TONY: We're taking her to NCIS to answer a few questions. RICK: Well, I'm coming, too. JODY: Rick, you don't have to come! RICK: (OVERLAP) Jody, I'm your husband. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM GIBBS: So why didn't you tell us you knew Lance Corporal Finn. JODY: I was afraid my husband would find out. GIBBS: That you klled him? JODY: I didn't kll James. It was an accident. He fell. He ht his head. I did not kll him. I loved him. I swear to God. GIBBS: Do you have any idea how many mrder "swear to God" they didn't do it? JODY: I come from a good Catholic family. When we swear to God, we mean it. CUT TO: INT. OBSERVATION ROOM (DOOR OPENS) DUCKY: Room for one more? ZIVA: I haven't see you in observation for a while, Ducky. DUCKY: I've learned as much as I can from the dad. It's time to listen to the living. CUT TO: INT. INTERROGATION ROOM GIBBS: You met in a bar. JODY: Yes. How did you know that? GIBBS: When? JODY: Nine months ago. GIBBS: Did you sleep with him that night? JODY: No. GIBBS: That's right. I forgot. You're from a good Catholic family. Did you sleep with him the second night? (bat) Your husband never knew. JODY: I would tell him that I had a late showing, and I'd meet James at the house on Larson Lane. I know that that sounds immoral, but it is not what you think! GIBBS: Well, let me guess. You have a deep, spiritual connection? JODY: Exactly. I had already decided I was going to leave my husband. I just had to wait for... GIBBS: Your father to die. JODY: The way you say it -- it sounds horrible. GIBBS: Oh, yeah. It is! JODY: If Dad knew I was getting a divorce, he'd have disowned me. CUT TO: INT. OBSERVATION ROOM ZIVA: She inherited two million dollars last month when Dad died. DUCKY: Oh. CUT TO: INT. INTERROGATION ROOM GIBBS: How about if you were a mrder? JODY: I didn't kll James. GIBBS: You buried him. JODY: No. I did not even know that he was dad. I will admit that we had a fight. James wanted to borrow money, and I refused, and he got angry, and he said that we were through. He got up to leave. I just wanted him to stay. I uh... took his cigarettes... CUT TO: INT. HOUSE - FLASHBACK FINN: Give them back! JODY: No! FINN: Now! JODY: Not unless you promise to-- (SFX: FINN GRUNTS) JODY: James! CUT TO: INT. INTERROGATION ROOM JODY: I just got in my car and I drove for hours. I came back to check on him, see if he was okay. But... GIBBS: He was dad, so you buried him. JODY: No! James was gone. I thought that he was fine until I went to that house for the showing the other day. (CRYING) And there he was! And I can only think of one explanation. It was the hand of God! CUT TO: INT. OBSERVATION ROOM ZIVA: Can Gibbs arrest God? TONY: I don't know. It's like the Thing trying to bring in the Hulk. DUCKY: She's telling the truth. TONY: Where are you going? DUCKY: To tell Gibbs.(DOOR OPENS/ CLOSES) ZIVA: What do you think? TONY: I'm glad the glass is bulletproof. CUT TO: INT. INTERROGATION ROOM (DOOR OPENS) DUCKY: Excuse me. Uh... could I have a word with you? GIBBS: Working. DUCKY: It's related and important. CUT TO: INT. HALLWAY - DAY (DOOR CLOSES) DUCKY: She's telling the truth. (SFX: REBECCA B.G.) GIBBS: God put the body there? DUCKY: No. Someone who was playing God. She didn't bury him. GIBBS: Is your gut telling you this? DUCKY: I've been watching her. She feels guilt, empathy, remorse. That doesn't fit the psychological profile. GIBBS: She's deceitful, conniving, an adulteress, which does. DUCKY: I'm trying to give you my professional opinion. GIBBS: Then tell me after I have finished interrogating the suspect.(DOOR OPENS/ CLOSES) CUT TO: INT. SQUAD ROOM - DAY DUCKY: Timothy, do you have a moment? MCGEE: Well, actually, I'm watching Jody Carvell's husband. DUCKY: Yes, I know. I want to have a word with him. MCGEE: Sure. DUCKY: Yeah, and for you to tape it with that new cell phone of yours. MCGEE: Tape you? DUCKY: No, no, no, no, no. Not me, him. Surreptitiously, of course. MCGEE: Of course. (MCGEE AND DUCKY WALK TO THE DESK) MCGEE: Here you go, Mister Carvell. RICK: Thank you. MCGEE: Uh, this is our medical examiner, Doctor Mallard. DUCKY: Call me Ducky. Everyone does. RICK: Ah, Rick. DUCKY: Strange, isn't it, Rick? Someone committed a mrder. Standard. But then they covered it up. Standard. And then they uncovered it. Far from standard. RICK: You think my wife was involved? DUCKY: No. And that's the problem. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM JODY: James was a big man. There is no way that I could have picked him up and buried him. GIBBS: Oh, that's easy. You roll him onto the plastic. You drag him out. JODY: Without ruining these nails? Look at them. They are so perfect. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY DUCKY: I tried to convince Agent Gibbs that your wife was telling the truth. I'm afraid he doesn't believe me. Tell me, Rick, why does that please you? RICK: What? DUCKY: Well, you just flashed a slight reflective smile when I said that Gibbs didn't believe your wife. RICK: I did not! DUCKY: Timothy? (MUSIC OVER ACTION/MCGEE REVIEWS CAMERA FOOTAGE) DUCKY: (V.O./RECORDED) I'm afraid he doesn't believe me. (ON CAMERA) I don't know if God was watching your wife and Finn that night, but you were. RICK: My wife and the dad guy? DUCKY: Yes. When your wife ran out of the house, you buried the body. RICK: My god, man. Why would I do that? DUCKY: Because you wanted the money. Well, you had to wait until her father died, before you could implicate her in the mrder. But once she got her inheritance, you disinterred the body. RICK: You have a vivid imagination, Ducky. But uh... imagination doesn't prove anything. DUCKY: Yeah, you're quite right there. But evidence does. Ah, good. Abby, have you lifted the DNA from the shovel handle yet? You know, from the sweat we discovered on the handle? ABBY: Oh, yeah! Right. I've got it running. I'm ready to check it. I just need a sample. DUCKY: Well then, test it against the saliva on this. RICK: You're right! I tried to cover up her mrder, but I didn't kll him! That cheating bitch did! MCGEE: Boss, Mister Carvell here admitted to Ducky he buried the body. JODY: Oh, my God! It was you?! RICK: Who else cleans up your messes? I was watching the two of you from the window. JODY: You watched us make love? RICK: That's not what I'd call it. GIBBS: Then what happened? RICK: They had a fight. She ht him on the head, and she ran. JODY: Rick. He's lying! RICK: All I did was bury him. DUCKY: Oh, I'm afraid you did a bit more than that. RICK: Right. I unburied him. MCGEE: Sit down. DUCKY: A reexamination of the conjunctival and facial tissues reveal petechial hemorrhages suggesting asphyxia. So I looked for atelextasis in his lungs, which results from shallow breathing due to an obstruction, such as plastic. And there it was. Lance Corporal Finn was buried alive. RICK: He was dad! I know he was dad! JODY: You bastard! You klled him! GIBBS: Ziva, get her out of here. McGee, handcuff him and get a sworn statement! JODY: (SHOUTS) I hope you fry! RICK: (SHOUTS) Go to hell! Go to hell. ABBY: Wow. I've got to come up here more often. CUT TO: INT. ELEVATOR - DAY (ELEVATOR DINGS/ DOORS OPEN) (ZIVA BUMPS INTO GIBBS/MOANS) ZIVA: Gibbs! I screwed up. GIBBS: Well, yeah. You almost spilled my coffee. ZIVA: When Tony and I ran out to pick up Jody, I left Finn's bag of gold by my desk... GIBBS: Hm-hmm. ZIVA: I know I should have taken it to evidence, but we were focusing on-- GIBBS: Here's the inventory. ZIVA: You took it to evidence! It says here the bag contained eighteen thousand dollars worth of gold. We are sixty thousand dollars short. (bat) You gave Siri and Rebecca back the money they loaned Finn.(ELEVATOR DINGS/ DOORS CLOSE) (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) (GIBBS AND ZIVA WALK INTO THE SQUAD ROOM) GIBBS: I thought I'd save the courts some paperwork. ZIVA: You wouldn't be getting soft? Of course, not. You shaved your mustache. MCGEE: Boss, reception called this morning. They said that someone is here with information about - sorry - about a case. I went to meet her and um... this is Jessica Coleman. James Finn's fiancé. (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x05 - d*ad and Unburied"}	foreverdreaming
MUSIC IN: EXT. GOLF COURSE - DAY JOSH: That's you, Dad. COOPER: In the trap? JOSH: That's a Titleist Three. COOPER: You know how good I feel? How good this morning is? JOSH: No, how good? COOPER: I'm going to blast out and two-putt. And I'm going to break ninety for the first time in my life. Did I tell you to have the truck detailed while I'm away? JOSH: Yes, Sir. COOPER: Last time I returned from deployment, I found a petrified Big Mac under the seat. JOSH: How long? COOPER: Must've been there six months. JOSH: How long will you be in Iraq this time? COOPER: As long as it takes, Josh. Eighteen months, maybe less. And then I go into teaching fulltime, and your mother and I can drive up to Princeton every weekend to see you. JOSH: Every other weekend will be fine. Are you going to swing, or should I get a beach towel. Keep your head down. (MUSIC OVER ACTION) (SFX: HUGE explsin) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "SANDBLAST" TONY: One and a half teaspoons is not sweet, McGee. I've seen my people pour three ounces of sugar into a one ounce espresso. MCGEE: Your people being Long Islanders? TONY: Romans. Inventors of the grain harvester, the arch, modern plumbing. MCGEE: Plumbing? Oh, every time I flush I will think of you, Tony. You and your people. ZIVA: I would ask you to explain that, but I really don't want to know. And I definitely don't want to know what you're doing. TONY: Making cappuccino, Ziva. And educating Probie as to what Italy has contributed to the world. Oration, Italian chima, sports cars. ZIVA: Gold chains and chest hairs. TONY: And pasta, in all its sexy shapes and sizes. ZIVA: The Chinese invented pasta. TONY: Communist-era propaganda. CUT TO: INT. SHEPARD'S OFFICE - DAY SHEPARD: (INTO PHONE) I assume Homeland Security has been informed. (FILTERED VOICE B.G.) VOICE: (V.O./FILTERED) They have. SHEPARD: Will they be raising the thrat level? VOICE: (V.O./FILTERED) Affirmative. To level one. SHEPARD: You have my direct line. VOICE: (V.O./FILTERED) Thanks.(HANGS UP PHONE) SHEPARD: Orange. GIBBS: Army-Navy Club is a high value target. SHEPARD: High value target? It's a trror1st dream. You can't slice a tee sht without hitting a congressmen or a general. GIBBS: Or a colonel. SHEPARD: He was set to deploy tomorrow. At least he got to spend the last day with his son. GIBBS: That's one way of looking at it. MUSICAL BRIDGE TO: EXT. GOLF COURSE - DAY (DOOR CLOSES) TONY: Looks like we're late for the party. GIBBS: Assume a hundred-meter blast radius from the sand trap. TONY: It's called a bunker, Boss, not a sand trap. Blast radius a hundred meters! Got it, boss! Probie, you got the woods. I've got the far side. MCGEE: Ah.... GIBBS: What, McGee?! MCGEE: Poison ivy, Boss. I just - I look at the stuff and I break out. GIBBS: Don't look. ZIVA: The Zaka would be busy today. GIBBS: Zaka? ZIVA: Orthodox Jews who volunteer to collect body parts from terror attcks. MANN: Agent Gibbs? Lieutenant Colonel Hollis Mann, Army CID. I believe your Director called. GIBBS: She did. Officer Ziva David. MANN: Ziva David. Yes, I know. Army Criminal Investigative Division has excellent intel. GIBBS: Good. You can use it to support our investigation. MANN: Our joint investigation, with Army in the lead. This isn't the Navy-Army Club, it's the Army-Navy Club. GIBBS: Yeah? That is a dad Marine at the Army-Navy Club. MUSICAL BRIDGE TO: EXT. FAIRWAY - DAY (SFX: VOICES B.G.) (MUSIC OVER ACTION/SOLDIERS SEARCH THE GRASS) CUT TO: EXT. BUNKER - DAY MANN: I had EOD sweep the rest of the sand traps. GIBBS: Bunkers. MANN: Excuse me? GIBBS: They're called bunkers, not sand traps. MANN: The Colonel's son said he saw what he thought was a spider web in the bunker. ZIVA: Trip wire? MANN: Possibly. There's not much to go on with this one. Of course, we've got a lot of land to cover. GIBBS: Eighteen holes on a golf course. MANN: Yeah. You want to divide them up? GIBBS: Sure. We'll take the crime scene. You and your people can take the other seventeen holes. MANN: You're not taking away my crime scene. End of story. But if you ask nicely, I might just give you the body. GIBBS: Well, I don't really have to ask seeing as my M.E. got here first. MANN: Okay. If this is going to be a pissing match, you'd better bring an umbrella. TONY: (V.O.) Oh-ho! I've got some good news, Boss. (ON CAMERA) Did I miss something? ZIVA: Gibbs just found his fourth ex-wife. GIBBS: What do you got, Dinozzo? TONY: I found this off the next tee. It was outside the blast radius. The wind must have carried it. Looks like part of a detonator. MANN: I checked the neighboring tees myself. TONY: Well, maybe you should have checked the trash cans. Looks like a hole in one, Boss! GIBBS: Nice work. TONY: Thanks. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY DUCKY: Myself, I have difficulty getting out of the sand. I supposed it's because I don't practice enough. I mean, I dig my feet in, I open the club face, but then I forget to follow through and the ball just goes a couple of feet. Not nearly as far as you traveled, my friend. (SFX: DOORS SLIDE OPEN/ CLOSED) MANN: Is he talking to himself? GIBBS: The body. DUCKY: Ah Colonel, your C.O. just called. Requested copies of my autopsy reports. Gibbs. GIBBS: The report? DUCKY: Yeah, well, the cause of death appears to be just what you see here. explsive dismemberment. GIBBS: Yeah, got that part. MANN: What we don't have are traceable fragments from that explsin. DUCKY: Yes, Abby was complaining about the dearth of physical evidence from the crime scene. Present company excepted, of course. GIBBS: bmb shell was plastic. MANN: Which means the fragments disintegrated. GIBBS: Yes, but luckily for you, not all of them. As the ancients soon discovered, fre and water do not mix. The human body is over two thirds water. Some of the burning fragments were cooled by the interstitial liquid in the Colonel's tissue before they could disintegrate. GIBBS: Get that to Abby. DUCKY: Thank you. MANN: Thank you. (SFX: DOORS SLIDE OPEN) CUT TO: INT. CONFERENCE ROOM - DAY JOSH: I can't believe he's gone.(SIGH) It's like I hear myself say that, but I know it's a stupid thing to say. TONY: It's not stupid, Josh. JOSH: If you told me he was still alive, that what I saw was a trick, I think I'd believe you. TONY: Look, maybe we should finish this tomorrow. JOSH: I'll be at Princeton tomorrow. Dad wouldn't want me to miss my first day of classes. TONY: Okay. You saw a spider web in the bunker, you said? JOSH: Yeah, at least I thought so....until my dad ht it. I should have said something! TONY: There was nothing you could have done. JOSH: That's another one of those stupid things people say. TONY: Well, I've got a million of them. You should ask my co-workers. They'll tell you. JOSH: Okay, what else do you got? TONY: Everything happens for a reason. JOSH: Yeah. That would have really pissed me off. But you can do better. TONY: When your time is up, your time is up. JOSH: Hope you have more skills than that. TONY: In the immortal words of Elvis Costello, "Oh, accidents will happen." JOSH: Oh, yeah. I probably would have stuck my fist through your skull if you had said that. TONY: It's a soft skull, actually. JOSH: Except this wasn't an accident, was it? TONY: No. JOSH: And I thought we were fighting them over there so we didn't have to fight them over here? Maybe they need some more help, huh? TONY: Look, you just focus on Princeton and we'll find who did this. JOSH: Like you found bin Laden? MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY (SFX: KEYBOARDING B.G.) MCGEE: There it is. MANN: Okay, good. Punch in on that. MCGEE: You can read the entire license plate. ZIVA: I'll update the BOLO. TONY: BOLO for what? MANN: Well, we cleared the course. We vetted everyone as they left. But we don't have any record of this ninety-nine Toyota leaving. The owner's a greens keeper at the club. MCGEE: He must have used an old service entrance. Snuck out before we covered them all. TONY: Nice catch, McGee. MANN: Uh, no, it's my catch. Let's see if we can get an address on this. SHEPARD: Is it just me, or did the SECDEF seem nervous? CUT TO: INT. BALCONY - DAY GIBBS: Probably has a tee time tomorrow. MANN: What's she like? (bat) I just meant is she up to the job? GIBBS: I'll let you know. (CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. TONY: (INTO PHONE) Hey, Boss. Dinozzo, here. GIBBS: Hey, Dinozzo! TONY: Oh. (LAUGHS) Hey! That's weird because I - I thought you were still in MTAC. GIBBS: What do you want? TONY: Um.... we-- MANN: Just found an "unaccounted for" vehicle from the Army-Navy Club. MUSICAL BRIDGE TO: EXT. CITY STREET - DAY (MUSIC OVER ACTION) (SFX: CAR BRAKES TO A STOP) GIBBS: Dinozzo. MANN: He's already in C.I.D. custody, Agent Gibbs. My people can handle the interrogation. GIBBS: What are you doing?(TONY WALKS O.S.) MANN: Divorced, right? GIBBS: Three times.(SFX: DOG BARKS B.G.) MANN: Only three. Well, I'll be sure to let my superiors know how you assisted. SOLDIER: Stand clear! (bat) Opening! (bat) All clear! Marijuana. MANN: Okay. Drugs. That doesn't mean he didn't plant the bmb. GIBBS: You can have that interrogation. (V.O.) I'll look for who did. (MUSIC UP AND OUT) MUSIC IN: INT. BASEMENT - NIGHT MANN: (V.O.) Agent Gibbs? (ON CAMERA) I... I've been ringing your bell for the last three minutes. GIBBS: Yeah. Been meaning to fix that. MANN: Well, the door was unlocked, so.... GIBBS: So this would be trespassing, not breaking and entering. MANN: Uh-huh. Kelly? GIBBS: There a reason you broke into my house? MANN: This is a joint investigation. I thought maybe we could share some information. GIBBS: Beer? MANN: Beer? Uh.... Sure. I got the results on the swabs from the Toyota. There were traces of diesel fuel and uh... fertilizer. Same thing that McVeigh used to ... blow up the Federal Building in Oklahoma. GIBBS: Yeah. Guy driving the Toyota was a greens keeper. MANN: I know. He's around fertilizer and diesel fuel all day. It was a bad lead. Anything you'd like to share? GIBBS: I've got some sardines upstairs. MANN: I meant about the case. But then you knew that. Girlfriend. Is Kelly your girlfriend? (SFX: GIBBS SHAKES HIS HEAD NO) MANN: Okay, look. C.I.D. intel did a profile on you for me. I know you flaunt authority, especially in front of a female. GIBBS: A female write that, too? MANN: Yeah. She also wrote you were a snper, a good one, but your eyesight's sht. You're injury-prone, if not in a state of near death-wish fulfillment. And though you're pressured and impatient, you're also passionate and loyal, in spite of the fact that you don't trust anyone. (bat) You are going to have to trust me. GIBBS: Is there anything I should know about you before we get involved? MANN: Involved? GIBBS: In the case. MANN: You can have NCIS Intel do a profile on me if you'd like. GIBBS: Oh, I could. (LONG bat) But I like surprises. CUT TO: INT. COFFEE SHOP - DAY TONY: (READS) This hypothesis states that the fate of transplanted embryonic cells is independent of their new position in the embryo. BENOIT: The Mosaic Hypothesis. TONY: I'm sorry. I'm going to need the complete answer. BENOIT: What is the Mosaic Hypothesis? TONY: Correct! Hot and smart. A female version of me. BENOIT: Ow! So you think I'm ready for the exam tomorrow? TONY: Well, I have twenty bucks saying you're going to set the curve. BENOIT: Okay, that's good to hear. Because that means it's my turn to ask you some questions. TONY: fre away. BENOIT: All right, how's a... how's a kind of cute, definitely charming guy like you who does some pretty bad impersonations.... TONY: I don't know what that means, but I thank you. (SFX: BENOIT LAUGHS) BENOIT: .... managed to stay single for so long? TONY: Oh, you're going to ask a real question. That's a real question. BENOIT: Yeah. TONY: Um.... what are commitment issues? (SFX: BENOIT LAUGHS) BENOIT: Not buying it. TONY: Really? BENOIT: Mm-mm. TONY: And why is that? BENOIT: In the last hour.... TONY: Yeah. BENOIT: At least a dozen hot coeds have walked by. Your eyes haven't wandered once. TONY: Really? Well, obviously yours have. BENOIT: (LAUGHS) Don't get your hopes up. I'm a very um... traditional girl. TONY: Oh, so is Anne Hecht. BENOIT: You still haven't answered my question, Tony. TONY: Okay. Okay. Well, I suppose that I am patiently waiting to find the right girl. BENOIT: You think you'll ever find her? TONY: I'm getting more and more confident by the day. CUT TO: INT. SQUAD ROOM - DAY (ZIVA SPEAKS INTO THE PHONE IN HEBREW) (MUSIC OVER ACTION) TONY: Ah, and to think people once questioned the need for a video camera in a cell phone. MCGEE: Tony! TONY: Arr! Wait 'till you see this! Any ideas? ZIVA: Ha ha! He's definitely not making cappuccino. TONY: There's no way he's got an STD. MCGEE: I was itching. It's poison ivy and it's spreading, okay? TONY: This is your second tango with the vicious weed, McGee. Maybe you ought to learn what that stuff looks like. ZIVA: And avoid it. MCGEE: Yeah, I thought I did. Ooh, this is klling me. When Gibbs told me to check out the forest, I should have just told him-- GIBBS: Tell me what, McGee? MCGEE: No! GIBBS: Well, that probably would have been a good idea. Baking soda and vinegar. You make a paste. Slap it on. MCGEE: Okay, thank you. Thank you, Boss. GIBBS: Not now, McGee. After we catch the trror1st. MCGEE: Oh, that could be a while. All the Club guests check out. Local LEOs report no unusual activity in the area. GIBBS: Dinozzo! TONY: I've gone through the last month of the Club's video surveillance. If a trror1st cell was casing the joint, they hid their tracks pretty well. GIBBS: Your contact at Interpol... ZIVA: Oh, said there was almost no uptick in chatter prior to the explsin. TONY: Could be homegrown bad boys, Boss. MCGEE: Well, still, there should be some chatter, no matter who it is. ZIVA: However this cell is operating. They found a way to do so without making a shred of evidence. GIBBS: Other than a dad Marine. TONY: Nice. CUT TO: INT. ABBY'S LAB - DAY MCGEE: Gibbs wanted me to see if you finished the processing the crime scene evidence yet. ABBY: I have, but Gibbs is not going to like this. Exhibit A. These are the bmb fragments that Ducky pulled from Colonel Cooper. It's plastic, but not your usual petroleum-based wreck-the-environment polymer. It's made of... corn. It's biodegradable which explains why it disintegrated so much in the blast. What are you doing? MCGEE: Well, actually, I have ... ABBY: You know what? I don't want to know. It's grain technology. Mostly used for making milk containers. So the best guess is that the bad guys used a jug as casing for the explsives. Okay, I do want to know. MCGEE: I have poison ivy, and it's klling me. ABBY: My secret remedy. MCGEE: Oh, what is it? ABBY: Carbonic acid. You just smear it on. MCGEE: I am not going to be acid on my.... boys. ABBY: Relax, McGee. It's just sodium bicarbonate and oxidized ethanol. Baking soda and white vinegar. MCGEE: I think Gibbs knows your secret remedy. He told me to do the same thing. ABBY: Well, you should have listened. Go ahead, rub it in. I'll wait. MCGEE: Okay. So milk jug. Did we have a trace yet? ABBY: The Green Revolution has gn, McGee. It's too widely available to narrow down a purchase place. I had this same problem with this piece of detonator that Tony found. I mean, you could buy this anywhere. It's an off-the-shelf fuse. I got excited 'cause I thought I'd found tissue on it that might match the suspect, but it was too degraded from the blast to get any DNA. MCGEE: (SIGHS) You're right. Gibbs is not going to like this, but right now I don't care. Oh, thank you. CUT TO: INT. MTAC - DAY THOMPSON: (V.O./FILTERED) That's your contact point intercept in five. (MUSIC OVER ACTION) THOMPSON: (V.O./FILTERED) Intercept successful. Commencing search. (SHOUTS) Out of the car! Out of the car! SHEPARD: (INTO PHONE) Update, Major Thompson! THOMPSON: (V.O./FILTERED) Negative on the Grenouille. I repeat, negative. (SFX: BEEP TONES) TECH: Director, Agent Gibbs is attempted to access MTAC. SHEPARD: Go dark. Let him in. (DOOR OPENS/ CLOSES) GIBBS: Changed the locks on me? SHEPARD: thrat level orange, remember? We're on lock down. Unless you have some good news for me. GIBBS: All I've got is three hundred wasted man-hours. We're looking in the wrong direction. SHEPARD: Well, I might be able to point you in the right one. Danielle? This just came from the CIA regarding the golf course bmb. GIBBS: A suspected homegrown trror1st cell? Suspected by who? SHEPARD: A CIA informant. GIBBS: Why are we just hearing about this now?! SHEPARD: Unfortunately, probably the same reason why we didn't hear about those flying lessons until after Nine Eleven. I've informed Army CID as well. Colonel Mann will meet you on site. MUSICAL BRIDGE TO: EXT. ALLEY - DAY MANN: Your men all the way around the building. (SFX: CAR BRAKES TO A STOP) TONY: CID bat us to the punch again. That's twice in one week! GIBBS: I didn't know this was a race, Dinozzo. TONY: Oh, no. It's not. I'm just not used to these joint efforts. MANN: Glad to see you finally made it. SOLDIER: (V.O.) All right, let's move! MANN: To be honest, I thought you'd bat me here and headed in without me. GIBBS: I thought you said I was the one with trust issues. CUT TO: INT. WAREHOUSE - DAY (SFX: DOORS SLIDE OPEN) SOLDIER: Clear! Clear here! GIBBS: Oh, that's original. MANN: Metro subway maps, national monuments, bridge blueprints. ZIVA: Potential targets. GIBBS: They sure as hell weren't sightseeing. TONY: I think I know who their target is, Boss. (bat) Us. (MUSIC UP AND OUT) MUSIC IN: INT. WAREHOUSE - DAY MANN: All right, secure the building, now! GIBBS: Ziva, Tony, out the back door. No one in until EOD gets here. (VOICES B.G.) (DOOR CLOSES) (SFX: DOOR SLIDES CLOSED) (DOOR OPENS) TONY: Ziva! Hey! What the hell are you doing? ZIVA: I can disarm it. TONY: Okay, well, great. Let's go outside and talk about this. ZIVA: If it detonates before EOD gets here, we'll lose evidence. TONY: Well, what a bummer. It would be a real shame. Ziva! Ziva! Oh, this has to be the stupidest thing any human being has ever done. ZIVA: Then why are you following me, Tony? TONY: I don't freakin' know! Oh, god. Oh... (MUSIC OVER ACTION/TONY AND ZIVA CLIMB TO THE bmb) ZIVA: Here, hold this. TONY: Do you have any idea what's going to happen if this cell phone rings? (MUSIC OVER ACTION) TONY: I can see down your shirt right now. ZIVA: I don't think your new girlfriend would like that. TONY: What are you talking about? I don't know what you're talking about. ZIVA: I'm talking about you, and the fact that you no longer stare at every woman when they pass you by. TONY: Well I'm looking down your shirt right now. ZIVA: You see anything good? TONY: Yeah, real good! But I'm not entirely sure it's worth dying - over. ZIVA: Not worth dying over. I'll remember that. TONY: What if I said it was? ZIVA: Now you'll never know. CUT TO: INT. SQUAD ROOM - NIGHT TONY: bmb was set to go off when the cell was called. ZIVA: It's prepaid and disposable. Never been used. GIBBS: So there's no call log. TONY: Thanks to our bmb disposal expert, we still have plenty to work with. ZIVA: Looks like two or three people were staying there. TONY: Abby's processing it. GIBBS: Nice job, Ziva. You do anything like that ever again, I'll kick your ass back to Israel. MANN: CIA refuses to let us talk to their source directly. GIBBS: Protected. MANN: The right hand still isn't talking to the left hand, and we have no idea what this source actually said. GIBBS: Oh, McGee! MCGEE: Yeah, almost there, Boss. MANN: You're not hacking the CIA? MCGEE: No, no, no. Homeland Security. They host a redundant CIA archive. MANN: All right, my superiors are not going to like this. GIBBS: Well, don't tell them. MANN: Smart and devious. That's a dangerous combination. GIBBS: You forgot charming. MCGEE: I'm in. MANN: No I didn't. MCGEE: Okay, informant's name is Mamoun Sharif. Native of Lebanon. Arrested in Beirut for extortion. Cooperated with Interpol. MANN: Helped break a stolen wapon ring on one of our bases in Turkey. MCGEE: CIA moved him to the States. Been on retainer ever since. Has a small convenient store in Roslyn, Virginia. Address. GIBBS: You bring anything other than ACUs? MANN: Would you like me to wear a dress? MUSICAL BRIDGE TO: INT. CONVENIENCE STORE - NIGHT CUSTOMER: Thank you. MAMOUN SHARIF: Hey! ABRAHAM: Huh? MAMOUN SHARIF: What did I tell you? The owner takes this out of my pocket! The next time I catch you, I'm calling the police! Out the back! (ABRAHAM AND MAMOUN SHARIF WALK TO THE BACK OF THE STORE) MAMOUN SHARIF: So don't let me catch you. ABRAHAM: Thank you. GIBBS: It still comes out of your pocket, doesn't it? MAMOUN SHARIF: Yes. But where I was born, it is a sin to turn away a hungry man. Now, what can I help you? MANN: Lieutenant Colonel Hollis Mann, Army CID. MAMOUN SHARIF: Put that away!! MANN: We have a couple questions for you about a recent tip you gave the CIA. MAMOUN SHARIF: Are you trying to get me klled! You can't contact me here! MANN: We understand the need for confidentiality. GIBBS: Just want to know how you heard about the warehouse. MAMOUN SHARIF: Who am I talking to? GIBBS AND MANN: (IN UNISON) Me. MAMOUN SHARIF: I hear things, okay? In the mosque, in the store, on the street. GIBBS: Names? MAMOUN SHARIF: Forget it. I hear things from people who hear things. Innocent people. Names I will not give. I know what happens nowadays. I am taking a big enough risk myself talking to your CIA. MANN: Which you're well-compensated for. MAMOUN SHARIF: We all have to make a living. GIBBS: Thirty-eight, super auto Colt. MAMOUN SHARIF: It's a bad neighborhood. GIBBS: You got a license? MAMOUN SHARIF: Okay, your country has been good to me. The man I heard talking in my store about the golf course... two days ago buying Ring Dings. I'm not so sure he is one of those innocent people. MANN: Why? MAMOUN SHARIF: Because of what he calls the golf course... "the beginning." MUSICAL BRIDGE TO: INT. SQUAD ROOM - NIGHT (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) MCGEE: Look quick! Look! Did you see that? ZIVA: See what? MCGEE: Gibbs let her go first. He never lets anyone go first. GIBBS: Give this to Abby. I.D. on anyone buying a Slurpee. Where's Dinozzo? MCGEE: Ah, he had a doctor's appointment. GIBBS: I want him on that grocery store! MCGEE: He said he'll be back ASAP. MUSICAL BRIDGE TO: INT. PARKING LOT - NIGHT (MUSIC OVER ACTION/TONY LOOKS AT SNAP shts) (PHONE RINGS) (BEGIN TELEPHONE INTERCUTS) (SCENE CUT) TONY: (V.O./FILTERED) McGee. MCGEE: (INTO PHONE) You're not really with a doctor, are you, Tony? (SCENE CUT) TONY: (INTO PHONE) As a matter of fact, I am. (SCENE CUT) MCGEE: (INTO PHONE) Well, Gibbs keeps looking.... (SCENE CUT) MCGEE: (V.O./FILTERED) ... at your desk and his watch. TONY: (INTO PHONE) Tell him I'll be right there. (SCENE CUT) MCGEE: (INTO PHONE) Are you okay? TONY: (V.O./FILTERED) I was fine. (END TELEPHONE INTERCUTS) CUT TO: INT. SQUAD ROOM - NIGHT MANN: When did you leave? (bat) Well, I'm a cheap date. GIBBS: This is a date? MANN: It's a figure of speech, Agent Gibbs. GIBBS: So, I've got the food. Did you solve the case? MANN: No, I was about to when you broke my concentration. GIBBS: That easy to break, huh? MANN: When I'm hungry. I thought I was close to a break, but now I've got more questions than answers. And Colonel Cooper, was he specifically targeted? GIBBS: No way to know who'd be in the bunker. MANN: Okay, so the target is random, which says trror1st attck. Except the explsive was not designed to kll. GIBBS: Well, the guy in the morgue would probably disagree with that. MANN: No, I mean, if the trrorists had packed the bmb full of shrapnel, like they usually do, then the son would be dad, too. GIBBS: It would make the bmb easier to detect. MANN: Which means the trrorists' priority is clearly to avoid detection. GIBBS: Explains the lack of chatter. MANN: So if you're that busy covering your tracks, why do you write "Death to America" all over your hideout? (bat) Sorry. GIBBS: Don't apologize. MANN: More questions than answers. GIBBS: It's a sign of weakness. MANN: I thought it took strength to apologize. CUT TO: INT. JOSH'S BEDROOM - NIGHT (SFX: MUSIC PLAYS B.G.) (KNOCK ON DOOR) TONY: Shouldn't you be packing? JOSH: My mom called you, didn't she? What did she tell you? TONY: That you're not going to Princeton. JOSH: She's right. TONY: Coltrane. Wouldn't have really pegged you for a jazz man, Josh. JOSH: My dad played Coltrane and Miles Davis every Sunday for as long as I can remember. The same albums over and over. Used to drive me nuts. TONY: Well, a military man is set in his routines. JOSH: The funny thing is, first time he was deployed, I found myself playing those same albums. Next thing I knew he was home and we were listening together. TONY: I know this must be a pretty difficult time for you. JOSH: If you're here to talk me out of joining the Marines... TONY: I would never talk someone out of joining the Corps. It's an honor to serve your country. JOSH: Good. I'm glad that's settled. TONY: I would ask one question, though. What's the big rush? JOSH: You know what? You're probably right. I should wait a little longer. What's a few more dad Colonels? TONY: I understand that you're pissed off. JOSH: Pissed off? They klled my dad! How would you feel?! TONY: I would want justice, but you're looking for revenge. JOSH: You're damn right! An eye for an eye, a tooth for a tooth. TONY: Which just leaves you with a bunch of toothless blind people. JOSH: So you would just make a joke and do nothing? TONY: I would do whatever it takes, but there is a right time, a right place, and this is not the time. Not for you. MUSICAL BRIDGE TO: INT. SQUAD ROOM - NIGHT ZIVA: (INTO PHONE) Thank you. (TO GIBBS) Homeland Security says there's an uptick in chatter. Something is definitely going on. GIBBS: You better have a fatal disease, Dinozzo. TONY: Josh's mom called. He's looking for payback. Wants to skip Princeton and join the Marines. I went to talk him out of it. GIBBS: Did you? TONY: I don't know, Boss. MANN: McGee, turn this up. Gibbs! ZNN REPORTER: (V.O./FILTERED) Fiery explsin that completely engulfed a Roslyn convenience store. The store's owner is believed to have been inside at the time of the blast. MANN: That's Sharif's place. (MUSIC UP AND OUT) FADE IN: INT. AUTOPSY ROOM - DAY DUCKY: First the friendly links, now the neighborhood convenience store. It's such tragedies as yours, Mister Sharif, that make my mother afraid to leave the house, which does not bode well for me, I'm afraid. Now your visit is premature. I'm still waiting for the rest of him to be delivered. (SFX: DOORS SLIDE OPEN) GIBBS: Until then, you have? DUCKY: Well, the obvious. Same as before. Except this time the dismemberment was caused by some form of high impact explsive. MANN: His dismemberment, but not his death? DUCKY: Correct, Colonel. Yes, as you can see he was in the pugilist-at-rest posture at the time of his demise. This preying mantis posture is one of man's oldest defensive positions. Almost always assumed when battling intense heat and flame. MANN: So Sharif was brned alive. GIBBS: The place was torched before the bmb went off? MANN: That kind of overkill means they were either sending a message... GIBBS: Or there was something there they didn't want us to find. MANN: We may have bat them to it. MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY ABBY: Oh, come on! Down in front, man! MANN: Do all your people talk to themselves? GIBBS: Don't yours? ABBY: Have you any idea how many Ring Dings are sold each day in your average convenience store? GIBBS: Abs? The customers? ABBY: The customers! They're talking about everything from the weather, to hemorrhoid cream. MANN: There's no audio. How do you know what they're talking about? (bat) Aha. You read lips. (ABBY AND GIBBS SIGN) MANN: Okay, you guys want to keep talking about me, or get back to the case. ABBY: Um, after watching seven hours of the most boring reality show ever made, I have narrowed it down to one final contestant. He refers to himself as Abraham. He didn't say the name of the golf course, but he did say that the day of judgment was approaching. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY ZIVA: According to Maryland DMV records, his full name is Abraham Moussalah. Born in nineteen seventy-four, serve three years for robbing a convenience store in Baltimore. Almost got away with eighty-six dollars and some Ding Dongs. MCGEE: Spent some time in a psych ward. Converted to a radical sect of Islam. MANN: Got a last known for him? ZIVA: His probation officer hasn't heard from him in over a year. MCGEE: There are no credit cards, no car registrations. Boss, this guy's gone off the grid. ZIVA: Check the BOLO. See if there's any hits. MANN: CID should have intel on Abraham's sect. I'll make a few calls. MCGEE: I'm going to coordinate with local LEOs and Highway Patrol. Where's Tony? GIBBS: Don't worry about Tony. Tony is fine. (INTO PHONE) Yeah, Gibbs. On my way, Abs.(PHONE RINGS) MANN: (INTO PHONE) I'll wait. MCGEE: Ziva! Tony is...? CUT TO: INT. JOSH'S BEDROOM JOSH'S MOTHER: (V.O.) Thanks again.(DOOR OPENS) TONY: Thank you. (TO JOSH) Hey! Looks like you made up your mind. JOSH: Special Agent slash mind reader. TONY: Well, when you're good, you're good. I wasn't reading your mind, I was reading your body language. You're relaxed. The struggle is over. You've made up your mind. JOSH: Special Agent slash Doctor Phil. TONY: So what's it going to be, Josh? Six a.m. wakeups and desert camo, or all night frat parties and Jell-o shts with coeds? JOSH: I decided to do what my dad always wanted me to. TONY: Ah, I'm guessing he wasn't a big fan of Jell-o shts. JOSH: No. But he was a big fan of Princeton. TONY: So you're going back to school. JOSH: And Georgetown Law, then into Naval Intelligence. TONY: Ha ha. That's good. We could use the help. Listen, I keep my word, Josh. We're going to find the person who did this. JOSH: I know, Tony. It's in your body language. CUT TO: INT. ABBY'S LAB - DAY ABBY: Remember the cell phone that was never used? Well, it was used, only all the data was hard-erased. MANN: Hard-erased? ABBY: What part of hard-erased do you not understand? MANN: All of it. ABBY: Well, then you've come to the right place. A cell phone is very much like a computer. You can delete data off of it, but then if someone knows where to look, it's... GIBBS: The bottom line, Abby. ABBY: Um, the cell phone was used once. It was an incoming call, probably to test the detonator. And then it was reset to factory defaults. GIBBS: You got a number? ABBY: I thought you'd never ask. CUT TO: INT. SQUAD ROOM - DAY MCGEE: (V.O.) The incoming call came from the warehouse Sharif gave the CIA. (ON CAMERA) Must be where Abraham was testing the detonator. GIBBS: He's not there now. MANN: The place has been crawling with EOD since yesterday. GIBBS: Can you trace that call? MCGEE: If it's on. Ziva! ZIVA: Almost done. MCGEE: I'm having Ziva scan the cell-tower control-track frequencies, looking for the cell's registration request. ZIVA: McGee, it just powered up! GIBBS: Tell me he's not making a call! MCGEE: Nope, not yet. Ah, I've got his location. M Street and Wisconsin. GIBBS: Georgetown Promenade. MUSICAL BRIDGE TO: EXT. PROMENADE - DAY TONY: You guys weren't planning on starting without me, were you? ZIVA: Who's that? MANN: Flanking positions on the Promenade. East and west. OFFICER: Yes, Ma'am. GIBBS: Clear the civilians. Quietly. Dinozzo. TONY: Princeton. MANN: There. Abraham on the bench. ZIVA: If he sees us clear the Promenade, he may detonate. MANN: If it's a trip wire, any of these people may detonate it. ZIVA: On the second bmb he used a cell phone. TONY: The cell phone's not connected to the back pack? GIBBS: Trip wire, cell phone? Who knows how he armed this one. TONY: A dad-man switch? (bat) Or not. GIBBS: Dinozzo, you keep your ears on me. (MUSIC OVER ACTION/GIBBS WALKS TO ABRAHAM) MANN: What the hell is he doing? TONY: What he always does. OFFICER: (V.O.) Everybody move back! We need to clear this area. MAN: Hey, my hat! MANN: Four marriages. Negotiating is probably not his thing. TONY: You'd be surprised. MANN: Oh, I have been so far. CUT TO: EXT. PARK BENCH - DAY (SFX: TELEPHONE GAME TONES) GIBBS: (INTO RADIO) The cell's not the detonator. (TO ABRAHAM) My son, Tony, he plays that same game. (V.O./FILTERED) What's your name? ABRAHAM: Abraham. GIBBS: Hey, Abraham. Jethro. ABRAHAM: Jethro? GIBBS: That's the name they gave me. CUT TO: EXT. PROMENADE - DAY (VOICE: "Everybody please stay calm. Stay back.") CUT TO: EXT. PARK BENCH - DAY ABRAHAM: That means friend of God. The father-in-law of Moses. He walked with the Israelites when God parted the Red Sea. You know why God parted the Red Sea? GIBBS: No. ABRAHAM: To show the people that sea creatures were totally dependent on God's will. CUT TO: EXT. PROMENADE - DAY MCGEE: What is he talking about? TONY: I'd say this guy's a few puppies short of a pet shop. ZIVA: Most su1c1de bmb are. CUT TO: EXT. PARK BENCH - DAY GIBBS: Abraham, can I ask you a question? Do you think it's all right for someone to hurt innocent people? ABRAHAM: No, Jethro! GIBBS: I didn't think so. What are you doing here, Abraham? ABRAHAM: I'm waiting for my friend. He's going to take me to dinner. GIBBS: Did your friend give you the backpack? ABRAHAM: Mm-hmm. About an hour ago. He said so I don't lose it. GIBBS: What's this friend's name? ABRAHAM: Sharif. CUT TO: EXT. PROMENADE - DAY TONY: So who's laying in Autopsy then? CUT TO: EXT. PARK BENCH - DAY ABRAHAM: He was supposed to meet me here at three o'clock. GIBBS: (SHOUTS) Ziva!! ZIVA: Right behind you! GIBBS: Abraham, is it all right if we take a look in your backpack? TONY: EOD's still on their way, Boss. MANN: We're out of time. You want me to diffuse it, because before you said you'd kick my ass if-- GIBBS: Do it! The rest of you go! Go on! Get out of here! (SFX: STEADY BEEP TONES) MCGEE: Thirty seconds. ZIVA: Tony, Army Kn*fe. ABRAHAM: What is your name? MCGEE: Uh... Tim. TONY: It means "he who is about to wet his pants." (MUSIC OVER ACTION/CAMERA PANS ON CUSTOMERS) ABRAHAM: Why is he going to wet his pants? (SFX: ZIVA LAUGHS) GIBBS: He's here. MANN: No, not anymore. (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x06 - Witch Hunt"}	foreverdreaming
MUSIC IN: INT. LIVING ROOM - NIGHT (SFX: SCREAMS FROM THE TV B.G.) BURKE: Not bad for a queen who's supposedly been dad for a few thousand years. (DOOR OPENS) (MUSIC OVER ACTION/CAMERA PANS THROUGH THE HOUSE TO THE KITCHEN) BURKE: (GASPS) Geez! You scared the hell out of me, Erik! You ever hear of knocking? (NILES COUGHS) BURKE: Oh, Custer's last stand. Cute. And by the way, the party doesn't start for another hour. NILES: (GASPS) Sarah...(SFX: NILES COUGHS/FALLS TO THE GROUND) BURKE: Erik!(SFX: NILES MOANS AND GASPS/ COUGHS) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - NIGHT "WITCH HUNT" (TONY THROWS PAPER IN THE TRASH CAN) TONY: Ha! You're not planning on leaving early, are you? ZIVA: And if I am? TONY: I wouldn't advise it. Do you know what today is? ZIVA: Tuesday. TONY: It's Halloween, Ziva. It's an American holiday. ZIVA: I know. The wearing of silly outfits and begging for treats. I imagine it would be a Dinozzo national holiday. TONY: Well, you imagined wrong. I don't do Halloween. ZIVA: I see. Your father again, yes? TONY: I don't do Halloween because ever since I became a cop, weird things always happen on October thirty-first. ZIVA: Define weird. TONY: Grave robberies, beheadings, cattle mutilations. And McGee turning fuzzy and blue. MCGEE: What? ZIVA: What's under your shirt? MCGEE: My t-shirt. ZIVA: Okay, he's lying. TONY: Oh yeah. Oh, yeah! Ha ha ha! Ah... (LAUGHS) I knew you played a fairy on that online game, but dressing up as one? MCGEE: It's a snow elf, and I'm going to a costume party, okay? TONY: It's far from okay, Probie. In fact, I'd say that this is taking geek one step beyond. ZIVA: Oh, sadly I have to agree. I instantly felt all the respect leave my body as soon as I put this on. (LAUGHS) MCGEE: Well, normally you'd be right, but you haven't yet met my Ice Queen. TONY: You have to be kidding me. (CHUCKLES) (SFX: KEYBOARDING B.G.) MCGEE: Dale Samechi. She is a Redskin's cheerleader. ZIVA: Oh, very impressive. TONY: That's a very hot woman. How did you find her? MCGEE: I met her at the Armani store. Found out we played on the same gaming server together. TONY: Since when can you afford Armani? GIBBS: Gear up! ZIVA: (bat) Oh, god. They're McGee's. MCGEE: Well, I'm going to a costume party later tonight. GIBBS: Not anymore, Elf Lord. General Custer has been sht, and he's got a dad skeleton in his living room. TONY: What'd I tell you? Halloween. MUSICAL BRIDGE TO: EXT. STREET - NIGHT (SFX: POLICE RADIOS B.G.) MCGEE: (INTO PHONE) No, wait, wait. Sharon! SHARON: (V.O./FILTERED) I can't believe you're not coming! MCGEE: (INTO PHONE) Well, what about next weekend. SHARON: (V.O./FILTERED) It's not Halloween! MCGEE: (INTO PHONE) Look, it's not my fault. ZIVA: Oh, my poor little McGee! There'll be other Elf Queens online. TONY: She's right. Of course, they won't be Redskins cheerleaders and they'll probably weigh a few thousand pounds. ZIVA: (CHUCKLES) Not to mention there is a good chance some of them are actually men. But you play long enough? TONY: Anything can happen. GIBBS: The guy dressed as Custer is Staff Sergeant Erik Niles. LEOs are looking for his wife and daughter. Blood trail leads from his house, to the neighbor's house who called it in. Tony, Ziva, get her statement. McGee, start processing the Staff Sergeant's living room. Oh, and there's a dad John Doe in there dressed like a skeleton. (SFX: VAN BRAKES TO A STOP) ZIVA: What happened to them? TONY: Halloween.(DOORS OPEN/ CLOSE) DUCKY: Sorry we're late, only we had a minor run-in with some local youths. GIBBS: Yeah, I can see that, Doctor. MCGEE: Did you get a good look at them? DUCKY: Oh, we did better than that. Release the cptive, Mister Palmer! (SFX: DOOR SLIDES OPEN) NINJA ONE: (V.O.) Are we in trouble? NINJA TWO: (V.O.) Ah, where we at? NINJA ONE: (V.O.) We said we were sorry. DUCKY: Right. Clean it! TONY: Nice work, Palmer! JIMMY: It wasn't me, Tony. Doctor Mallard chased them for three blocks. DUCKY: Oh, please. It's not that impressive. It's not as if they were real ninjas. NINJA ONE: (V.O.) It was your idea. NINJA TWO: (V.O.) Shut up and clean! CUT TO: INT. LIVING ROOM - NIGHT BURKE: I thought he was play acting at first. You know, General Custer's last stand and all that. ZIVA: You removed his jacket. Why? BURKE: To check for other wounds. There weren't any. Just a single gn wound that nicked his carotid artery. I'm a doctor - pediatrician. TONY: Oh, that explains why he headed over here. You probably saved his life, Doctor. BURKE: I sab him the best I could until the EMTs arrived. And... it's Leslie. ZIVA: Did he say anything to you? BURKE: He was trying to. I think it was his daughter's name. Sarah. I'm hoping she was with her mother when this...(SIGHS) this happened. CUT TO: INT. NILES HOME - NIGHT (MUSIC OVER ACTION/MCGEE MOVES AROUND THE ROOM TAKING PHOTOGRAPHS) MCGEE: Oh, that's not creepy. (MUSIC OVER ACTION/MCGEE CONTINUES TAKING PHOTOS) (DOOR OPENS) MCGEE: Palmer! JIMMY: Is something wrong? MCGEE: Are you trying to get sht? JIMMY: Um, no.(DOOR CLOSES) MCGEE: There's someone in this room. JIMMY: You mean besides the dad skeleton guy? MCGEE: Yes, besides the dad skeleton guy. (PASSAGE OF TIME) TONY: Basement's clear, Boss. MCGEE: Look, I know what I saw. Someone policed the brass - tried to wipe up the blood. TONY: Who, Probie? The crime scene fairies? There's no one here. GIBBS: Get Ducky in here. We're wasting time. MCGEE: Boss, I'm sorry, but I swear there -- GIBBS: What do you make of this, McGee? MCGEE: Well, obvious signs of a struggle. One dad assailant. Not really sure how his head got that way, though. GIBBS: You're not? Come on, let me show you. Get on the floor. MCGEE: Well, Tony did tell me about when you demonstrated this technique-- GIBBS: Yeah? You guys talk about things like that? You learn by feeling, McGee. This is how Marines silence enemy sentries. Sixty-six pounds of pressure and then - snap! MCGEE: So Staff Sergeant Niles went down fighting. GIBBS: See? The blood spatter on the wall. He was right about where I am now when he got sht. bllet impacted. It means the sht was over here somewhere. MCGEE: This is where the brass is - uh, was. So two assailants? GIBBS: At least. DUCKY: Yes, the cause of death is pretty obvious. But you never know. I once had a case where a man who died of heart failure had an ice pick plunged into his skull four hours after the time of death. His wife discovered that she had been left out of his will. TONY: Good news, boss. Kids saw a car leaving the Sergeant's house around the time of the shting. Ziva's getting a description. DUCKY: Yes, well, let's have a look at you. (SFX: TONY SHOUTS) TONY: Something just touched my foot! Something's under the couch! MCGEE: Maybe it's the crime scene fairy, Tony. TONY: Shh! I hate Halloween! (SFX: TONY SHOUTS) MCGEE: It's a Roomba. It's a robot vacuum cleaner. Uses navigational sensors to clean the floor while the owner's away. DUCKY: Yes, well your Roomba is about to interfere with your crime scene. (SFX: GIBBS SMASHES THE ROOMBA) GIBBS: Damn thing policed the brass. MCGEE: I told you I wasn't crazy. GIBBS: Bag it. DUCKY: Come on. Let's get him home. CUT TO: EXT. STREET - NIGHT BOY: The door slammed, and he just drove away. ZIVA: Thanks a lot. CUT TO: INT. NILES' LIVING ROOM - NIGHT ZIVA: The boy saw a car leaving the scene that looked like a kuruma. I'm not familiar with the model. GIBBS: Kuruma is Japanese for car, Ziva. TONY: Your description of the car is car. Nice work, Officer David. MCGEE: Kuruma is the name of a car in Grand Theft Auto Three. It's a Chrysler Sebring sedan. TONY: McGeek with the save! ZIVA: I'll put out a BOLO. GIBBS: Find the Staff Sergeant's wife-- LAURIE: (V.O.) Erik! Oh, my god! Is that... is that... is that... is that my... is that my husband in there? GIBBS: Miss, that's not your husband. That's not your husband. Okay? CUT TO: INT. KITCHEN - NIGHT REBECCA: I'm her sister. We were at the school helping set up for the Halloween party when the police came. GIBBS: Is her daughter still there? REBECCA: Sarah? She was with Erik. TONY: Amber Alert. On it, Boss. (GIBBS WALKS INTO THE LIVING ROOM) LAURA: I'm okay now. When they said Erik was sht and I saw that body, I.... GIBBS: Mrs. Niles, your husband is at Bethesda Hospital. He's in surgery. We'll take you to see him. I just need to ask you a few questions. REBECCA: Laurie, Sarah's missing. LAURA: You mean she's been kidnapped. REBECCA: They don't know that for sure, yet. MCGEE: Mrs. Niles, your daughter may have just become scared and run off. ZIVA: Perhaps there's a friend or relative's house she'd go to. LAURA: No. No, she... she would have called me on my cell phone. They took my little girl. REBECCA: They'll find her, Laurie! We just have to stay positive, okay? (SFX: CELL PHONE RINGS) REBECCA: That could be her right now! GIBBS: Do you mind putting that on the speaker? LAURA: (INTO PHONE) Hello? SARAH: (V.O./FILTERED) Mommy! LAURA: (INTO PHONE) Baby, are you okay? SARAH: (V.O./FILTERED) They hurt Daddy! I tried to call the police, but the man... LAURA: (INTO PHONE) Listen to me, Sarah. Everything's going to be all right. You just need to-- JANSEN: (V.O./MORPHED) We have your daughter. You will see her alive again, you'll do exactly what I say. I'll call back with instructions. (SFX: LAURA CRIES) (MUSIC UP AND OUT) FADE IN: INT. AUTOPSY ROOM - NIGHT DUCKY: I dressed up as a skeleton once in my youth. Did you know that the tradition of Halloween was brought over from Scotland, along with the fine sports of golf and curling? TONY: I wouldn't call anything using a broom a "sport," Ducky. DUCKY: Tony, curling is referred to as chess on ice, because it puts high demands on tactics and foresight. TONY: Relax, Ducky, I love Scotland. Sean Connery, the very best James Bond ever. MCGEE: I thought he was Irish. (DUCKY LAUGHS) MCGEE: Darby O'Gill and the Little People. TONY: He was using a fake Irish accent. It's called acting. DUCKY: The preliminary cause of death is blunt force trauma to the neck. However, once I've done the -- TONY: This guy's our only link to the missing girl. I need an I.D. DUCKY: Well, currently he remains a John Doe. He has no I.D., he has no tattoos, no distinguishing marks. Here. TONY: What about his prints? DUCKY: Mister Palmer took them up to Abby's lab. Though, she's not there and she's not answering her calls. MCGEE: Halloween's a pretty big night for Abby. TONY: Every night is Halloween to Abby. (SFX: DOORS SLIDE OPEN) DUCKY: Ah, there you are. Is she here yet? JIMMY: Oh, she's here, and she is in costume. TONY: Oh, yeah? What's it like? JIMMY: Trust me, you wouldn't want me to ruin the surprise. CUT TO: INT. ABBY'S LAB - NIGHT (MUSIC OVER ACTION/MCGEE AND TONY WATCH ABBY) ABBY: ABBY: Oh, sorry I was late, you guys. I couldn't hear my cell phone ringing at the party. You'd think a cemetery would be a little quieter. It's awful about that little girl! Getting kidnapped on Halloween. Totally creepy. I'm running my skeleton's fingerprints through AFIS. (CONT.) I'm starting with Virginia and Maryland, and then a subset of all known child molesters on the East Coast. I've got an Amber Alert running, no hits yet. We've got to find her! (bat) Why are you looking at me like that? Do I have food in my teeth or something? TONY: No, uh... I'll just stick with or something. I need to run our dad guy's photo against mug shts. ABBY: (LONG bat) Give me. TONY: The camera, McGeek. MCGEE: The camera. Sorry. TONY: We need to put out a BOLO. See if anyone recognizes our guy. ABBY: McGee, what is wrong with you? You look three cans short of a six-pack. MCGEE: Nothing, it's just... you look different. TONY: He means the Halloween costume, Marilyn. ABBY: Oh, right! Sweet, huh? MCGEE: Yeah. TONY: Yeah. (CELL PHONE RINGS) TONY: (INTO PHONE) Dinozzo.(BEGIN TELEPHONE INTERCUTS) CUT TO: GIBBS: (INTO PHONE) Woodbridge P.D. has a kid who says he may have seen a Sebring in the neighborhood. TONY: (V.O./FILTERED) Okay, on it. (SCENE CUT) TONY: (INTO PHONE) We also got a picture of our skeleton without the makeup. GIBBS: (V.O./FILTERED) Send him. (SCENE CUT) GIBBS: (INTO PHONE) I'll see if I can get the wife to I.D. him. What's the condition of the Staff Sergeant? TONY: (V.O./FILTERED) He's still in surgery. (SCENE CUT) TONY: (INTO PHONE) According to the doctors, we won't be able to interview him until tomorrow. (SCENE CUT) GIBBS: (INTO PHONE) Tomorrow's too late. TONY: (V.O./FILTERED) Yeah. Kidnappers call back yet? GIBBS: (INTO PHONE) Nope. It makes me wonder. (SCENE CUT) TONY: (INTO PHONE) If she's still alive? (SCENE CUT) GIBBS: (INTO PHONE) No. What they want with an enlisted Marine who makes less than thirty-two thousand dollars... (SCENE CUT) GIBBS: (V.O./FILTERED) ... a year. TONY: (INTO PHONE) Yeah, I was kind of wondering the same thing. (SCENE CUT) GIBBS: (INTO PHONE) Find out.(END TELEPHONE INTERCUTS) MUSICAL BRIDGE TO: INT. KITCHEN - NIGHT LAURA: How long do I have to sit here? REBECCA: They're doing everything they can for us, Laurie. ZIVA: You must try to stay calm. LAURA: That's easy for you to say. Do you have children, Officer David? ZIVA: No. But I know what it's like to lose a member of my family. (SFX: LAURA SOBS) ZIVA: I'm sorry. I didn't mean to-- REBECCA: Nice! Thank you. Sarah will be fine, Laurie. You have to believe that. ZIVA: Our skeleton John Doe. CUT TO: INT. LIVING ROOM - NIGHT GIBBS: She recognize him? ZIVA: I haven't showed it to her yet. Apparently everything I say makes her cry! GIBBS: Ziva, her husband is in critical condition. Her daughter's been kidnapped. ZIVA: I know! I'm just not very good with the crying and the women and the-- GIBBS: That makes two of us. ZIVA: I also believe she's hiding something. She seems conflicted, like... like she's holding something back. GIBBS: I'll show you something. CUT TO: INT. BEDROOM - NIGHT ZIVA: One shirt. Our Staff Sergeant wasn't living here. GIBBS: Is that a question or a statement? ZIVA: Actually, more of a - you want me to find out why. MUSICAL BRIDGE TO: EXT. STREET - NIGHT MCGEE: You saw the Sebring driving that way? BREEN: (MUMBLES) TONY: What?! Is that German? Are you speaking German? Is that German? BREEN: (MUMBLES) MCGEE: You're saying two people. BREEN: (MUMBLES) TONY: Two people where? BREEN: (MUMBLES) TONY: What is that? A manhole cover? They were moving manhole cover? What is that - a rake? BREEN: (MUMBLES) MCGEE: Yeah, I know. He's just saying you're bad at charades, you know. TONY: All right, screw this. (SFX: TONY TEARS OFF BREEN'S MASK) BREEN: Youch! Dude! You ruined my costume! TONY: Do you want to be charged with obstructing a Federal investigation, huh? Then speak, Zombie! BREEN: Okay, look. I saw a Sebring, right? And I think there were two people in it. TONY: Which way did it go? BREEN: That way. Yeah, it cut the corner so hard it ran over the curb. TONY: All right, show me. (SFX: BREEN HOWLS) TONY: Don't be a wise guy. BREEN: Okay. Okay, look. It crashed into all that stuff, right? And then it drove off that way. MCGEE: Did you get a look at the license plate? BREEN: Dude, I can barely see you two with all this makeup on. (MUFFLED) Thank you. (SFX: BREEN HOWLS) MUSICAL BRIDGE TO: EXT. STREET CORNER - NIGHT TONY: You got a time of death on the Great Pumpkin here, Charlie Brown? MCGEE: I might have more than that. The car left an impression on it. CUT TO: INT. KITCHEN - NIGHT GIBBS: This is the guy that was fighting with your husband. LAURA: Sorry, Agent Gibbs. I don't recognize him. REBECCA: Think, Laurie. Maybe you saw him at a store or the mall. LAURA: I said I don't know him! Can I talk to Erik? GIBBS: Sure. He's still in surgery. When he gets out, we'll put him on the phone with you. REBECCA: It's going to be all right. We need to have faith. LAURA: Stop touching me! (LAURA WALKS TO THE SINK/RINSES HER FACE) GIBBS: I know what you're going through, Laurie. I know.... I know there's nothing I can say-- LAURA: Have you ever had a daughter kidnapped? GIBBS: (bat) Kidnapped, no. But I promise to do everything I can do to bring your daughter home safe. LAURA: I believe you, Agent Gibbs. I just hope it'll be enough. CUT TO: INT. AUTOPSY ROOM - NIGHT ABBY: Dawn of the dad was awesome! TONY: Cinematic blasphemy. Fast zombies? There's a reason you don't remake classics. ABBY: John Carpenter's The Thing. TONY: Well, there's an exception to every rule. ABBY: The Fly. TONY: Maybe two. MCGEE: Didn't you say that Al Pacino in Scarface was the best-- TONY: Okay! But my point is zombies should be slow. ABBY: Tony, there's nothing scary about a zombie dragging his butt around. TONY: Well, a zombie is not a zombie unless it's dragging his butt around. MCGEE: You liked Twenty Eight Days Later. Those zombies were really quick. TONY: Okay, enough with the zombies already! We find an impression on the vegetable or not? MCGEE: Technically it's a fruit. ABBY: We're finished rendering the laser scan on the Great Pumpkin surface. McGee, can you invert the image... as soon as you're done undressing me with your eyes. And bring up the gamma, and increase the contrast. And swap it. Oh, smashing pumpkins! It's a left hand side of a Virginia license plate! TONY: Nice work, Abs! Run it, McGee! MCGEE: First four letters, cross referencing against Chrysler Sebrings. And we got a ht. The car was registered to a rental car company in Catlett, Virginia.(SFX: COMPUTER BEEP TONES) TONY: (LAUGHS) Yes! Dinozzo does it again. MCGEE: I think you mean Abby and I did it again. Ow! What's that for? ABBY: Those days ended the moment you started sexing up the cheerleader. TONY: All right, find out who rented that car. I'm about to make Gibb's night. MCGEE: Uh, wait a second, Tony. There is no name. The car was reported stolen three days ago. CUT TO: INT. LIVING ROOM - NIGHT ZIVA: Our Staff Sergeant moved into the Quantico bachelor enlisted quarters three weeks ago. GIBBS: Marital problems? ZIVA: Well, according to someone called Scuttle Butt, he caught his wife cheating on him. GIBBS: Scuttlebutt's not a person, Ziva. Scuttlebutt is what Marines call gossip. ZIVA: And then you wonder why I have a problem with your language. (SFX: CELL PHONE RINGS B.G.) GIBBS: Okay, stay calm. Tell him you want to talk to Sarah. Can you do that for me, Laurie? LAURA: Okay. (INTO PHONE) Sarah? JANSEN: (V.O./MORPHED) Try again. LAURA: (INTO PHONE) I want to talk to my daughter right now or I'm... I'm hanging up. JANSEN: (V.O./MORPHED) Hang up and she dies, Mrs. Niles. LAURA: (INTO PHONE) I want to talk to her right now. JANSEN: (V.O./MORPHED) Talk is cheap. You want to see her alive again, that'll cost. LAURA: (INTO PHONE) Whatever it is, whatever you want, I'll do it! I give you my word. JANSEN: (V.O./MORPHED) A hundred thousand in small bills. You have until dawn to get it. LAURA: (INTO PHONE) Yes, okay. Now ... now just please let me talk to my daughter. JANSEN: (V.O./MORPHED) Money first, then you can talk. (END TELEPHONE CONVERSATION) CUT TO: INT. CAR - MOVING JANSEN: (V.O.) Scared little darling? Good. You should be.(MUFFLED/ SARAH CRIES B.G.) (MUSIC UP AND OUT) MUSIC IN: EXT. NILES HOME - NIGHT ZIVA: (V.O.) The call wasn't long enough to trace. CUT TO: INT. LIVING ROOM - NIGHT ZIVA: We'll get another chance when he calls her back to tell her where to drop off the ransom. GIBBS: Laurie, I'd like to talk to you... alone. REBECCA: It's okay, honey. I'll be right here if you need me. I'm not going anywhere. GIBBS: Tell Dinozzo I want that John Doe I.D.'d in an hour. CUT TO: INT. BEDROOM - NIGHT LAURA: We don't have a hundred thousand dollars sitting in the basement, Agent Gibbs. Maybe my parents can get it, but it's going to take time. (DOOR CLOSES) GIBBS: Yeah, we can help you with that, but I need some answers first. LAURA: Anything. GIBBS: Sit down. So Laurie, why did your husband move out of your house and onto base? LAURA: What does that have to do with this? GIBBS: Maybe nothing, but I need to know. LAURA: We were having some problems, Erik wanted a trial separation. GIBBS: Why? LAURA: I made a mistake, a stupid mistake eight years ago. GIBBS: What kind of mistake? (bat) Laurie, look, I've been married four times. I've made every mistake in the book. LAURA: Right before we were married, Erik - he...he broke off our engagement for a few weeks. I saw an old boyfriend. It was a stupid fling. I pretended it never happened. GIBBS: Erik's not your daughter's biological father? LAURA: I don't know! But even if I did, it doesn't matter! GIBBS: How did your husband find out? LAURA: My ex-boyfriend. Last month he showed up and demanded Sarah take a paternity test. When I refused, he thrat me. GIBBS: I need his name - address. LAURA: Robert Miller. I have no idea what his address is. GIBBS: He live in Virginia? LAURA: Used to. GIBBS: Age, weight, eye and hair color. We can run him down through DMV. LAURA: He's twenty-eight years old. Brown hair, green eyes. Maybe a hundred and eighty pounds? (SFX: CELLPHONE TOUCH TONES) (DOOR CLOSES) GIBBS: Laurie, what aren't you telling me? LAURA: It's my fault. I... I... (DOOR OPENS) REBECCA: Laurie, you okay in here? (SFX: LAURIE SOBS) LAURA: No! I destroyed my family. REBECCA: Don't you think she's been through enough already? GIBBS: Could Miller have done this? MILLER: Maybe. I...I don't know. I just want my baby back. CUT TO: INT. SQUAD ROOM - DAY (BEGIN TELEPHONE INTERCUTS) TONY: (INTO PHONE) She's just telling you this now? (SCENE CUT) ZIVA: (INTO PHONE) Just because I'm a woman doesn't mean-- CUT TO: INT. SQUAD ROOM - NIGHT ZIVA: (V.O./FILTERED) ... she'd tell me everything, Tony.(END TELEPHONE INTERCUTS) MCGEE: Robert Miller, there's over three hundred listed in the Tri-State area alone. TONY: Narrow the search with the criteria, Probie. MCGEE: Still over a hundred Robert Millers listed. TONY: We've got her cell phone records, right? MCGEE: When we tapped her lines. TONY: So check to see if Robert Miller called in the last month. MCGEE: Abby's right. I am three beers short of a six-pack. TONY: I think she was talking about your abs, McFlabby. MCGEE: Okay, three calls, about a month ago. Called from his home phone. TONY: Called from his home phone - three calls in the last month. CUT TO: INT. NILES BEDROOM - NIGHT REBECCA: My sister can barely stand, here. Is there any way we can let her get some rest? GIBBS: Sure. ZIVA: We've got an address. GIBBS: (QUIETLY) Keep an eye on them. If the kidnappers call again, you tell him no more money until we talk to the girl. CUT TO: EXT. STREET - NIGHT TONY: (V.O.) Last time I did Halloween, I was an astronaut CUT TO: INT. CAR - MOVING TONY: The neighborhood I grew up in, well, it wasn't really a neighborhood. There were these estates with mansions smack dab in the middle of them, with really long driveways. It made Halloween very tricky. It's a lot of walking. God, my feet were tired that night. Dogs were barking. MCGEE: Yeah, I can imagine it really sucks growing up rich like that. TONY: My costume was fantastic, though. Wicked awesome! I was a space man. No ventilation, though. Burning up, sweating like Roger Federer after a five-set tie breaker, and stinky. Stinky like cheese. But man what a haul! I made off with more candy than I could carry. MCGEE: God, I imagine this story's coming to an end soon. TONY: But when I got home, old man made me throw it all away. Even the apples. MCGEE: He was concerned about your teeth. TONY: Oh, no. I made my astronaut costume out of one of his three thousand dollar designer ski suits. MCGEE: Ouch. TONY: I don't think I sat down again until Christmas. Good times, Probie. Good times. CUT TO: EXT. STREET - NIGHT (SFX: VOICES B.G.) (SFX: CAR BRAKES TO A STOP) (SFX: DOORS OPEN/CLOSE) MCGEE: Kuruma. GIBBS: Plates match. It's Miller's stolen ride. TONY: This is his building. Second floor, apartment two oh seven. Halloween doesn't have to suck after all. MCGEE: Something was brned in here recently. It's still smoldering.(SFX: CHILDREN'S VOICES B.G.) GIBBS: Pop the trunk, McGee. (SFX: TRUNK OPENS) GIBBS: Let's get this sonovabitch! CUT TO: INT. APARTMENT HALLWAY - NIGHT (MUSIC OVER ACTION) (SFX: MUSIC B.G.) (SFX: GIRL SCREAMS B.G.) (SFX: DOOR OPENS) CUT TO: INT. LIVING ROOM - NIGHT (SFX: PARTY B.G.) GIBBS: (SHOUTS) Federal Agents! PARAGON: Yeah, all right! (SFX: APPLAUSE) PARAGON: Great group costume, guys, but you spelled CSI wrong on your hats. GIBBS: Robert Miller. PARAGON: Somebody's in a bad mood. (F/X: GIBBS GRABS PARAGON) PARAGON: (V.O.) Right over there by the blue alien ladies. TONY: It's not easy being a root vegetable, is it? (MUSIC OVER ACTION/GIBBS WALKS ACROSS THE ROOM) GIBBS: Robert Miller. MILLER: (IN KLINGON) Hab sosli' quch! MCGEE: Boss, he just said, "Your mother has a smooth forehead." It's a Klingon insult! TONY: You speak Klingon? MCGEE: Not fluently, but yes. GIBBS: Federal agents. MILLER: (IN KLINGON) Jeghbe thlinganpu! MCGEE: Now he's saying Klingons don't surrender. (F/X: GIBBS SHOVES MILLER INTO THE WALL) GIBBS: Are you Robert Miller? MILLER: Who are you people? (bat) Yeah! Yeah! Yeah! GIBBS: Sarah Niles! Where is she? MILLER: That bitch sent you here! My lawyer says I have a right to know if she's my child. I'm just trying to do the right thing. If she's my daughter, I just want to be a part of her life! She looks exactly like me! (bat) Well, except for the fake teeth and the bumps on the forehead. GIBBS: Is that why you kidnapped her? MILLER: I didn't kidnap anybody. GIBBS: The car that was used is parked outside downstairs. MILLER: Well, I have no idea what the hell you're talking about. I've been here all day with my friends getting ready for this party. You can ask them. MCGEE: Boss, no sign of Sarah. MILLER: See? I told you! TONY: The only thing I hate worst than Halloween are Klingons. MILLER: Look, ask them, okay? Ask the guy with the cheese head hat. Ask the vampire, David Lee Roth, Carrot Man. Ask him! PARAGON: This has gone far enough. I happen to be a lawyer. TONY: Good! The only thing I hate worse than Klingons are lawyers. MILLER: I didn't do anything, all right? Laurie's the one who thrat me. She told me that her husband... her husband was going to kll me if I didn't leave her alone. Ask her. GIBBS: Dinozzo. (SFX: GIBBS HANDCUFFS MILLER) CUT TO: INT. LIVING ROOM - NIGHT (SFX: CELL PHONE RINGS) ZIVA: (INTO PHONE) Ziva. TONY: (V.O./FILTERED) Boss wants to talk to the mom. (SFX: ZIVA WALKS TO THE BEDROOM) (KNOCK ON DOOR) ZIVA: Mrs. Niles? Agent Gibbs needs to talk to you. CUT TO: INT. BEDROOM - NIGHT ZIVA: (V.O.) Mrs. Niles?(KNOCK ON DOOR) (DOOR OPENS) (MUSIC OVER ACTION/ZIVA SEARCHES THE BEDROOM) (MUSIC UP AND OUT) MUSIC IN: INT. OBSERVATION ROOM - NIGHT (DOOR OPENS/ CLOSES) TONY: General Kang crying, or is that just sweat? MCGEE: Half hour alone in a room with angry Gibbs? Even Klingons have their limits. TONY: What's he been doing to him? MCGEE: Mostly staring. TONY: Maybe that's a new interrogation technique. MCGEE: Well, it seems to be working. It's definitely creeping me out. Did you check his alibi? TONY: Well, according to six people, Worf here was at the party when the little girl was kidnapped. MCGEE: Well, shouldn't we tell Gibbs that? TONY: Well, I don't know, Probie. Have you figured out how the kidnapper's car was outside of his apartment yet? MCGEE: He could have hired somebody to kidnap her. TONY: Or he was being framed. MILLER: (FILTERED) I'm trying to cooperate, Agent Gibbs. CUT TO: INT. INTERROGATION ROOM MILLER: Aren't you going to say anything? CUT TO: INT. AUTOPSY ROOM - NIGHT (SFX: DRAWER SLIDES SHUT) ZIVA: I screwed up, Ducky. I knew the Staff Sergeant's wife was hiding something, that she wasn't telling us the whole truth. And do you know what I did? I allowed myself to feel sorry for her. Ah! And do you know what that makes me? DUCKY: Human. ZIVA: A chimp! JIMMY: I think she means chump, Doctor. You see, a chimp is an animal, Ziva, whereas a chump is someone who is easily taken advantage of or - or fooled. DUCKY: Mister Palmer. JIMMY: I'm not saying that you are-- DUCKY: Would you mind giving us a moment alone? (JIMMY WALKS O.S.) DUCKY: He means well.(DOOR CLOSES) ZIVA: He's right. DUCKY: You're being too hard on yourself. ZIVA: I let Laurie Niles and her sister climb out of a bedroom window in the middle of our investigation. Perhaps they should throw me a parade, yes? DUCKY: The question we should be asking ourselves is why, Ziva. Two thirds of all child abductions are by a biological relative. ZIVA: She kidnapped her own child. DUCKY: You know what they say about a mother bear and her cubs. ZIVA: They eat them when the food runs out. I saw it in a documentary Tony forced me to watch - Grizzly Man. DUCKY: I was referring to a mother bear's protective nature when her cubs are thrat. There's no deadlier creature on the planet. ZIVA: I agree. They also ate the man who sht the footage and his girlfriend. DUCKY: Yeah, well that's perfectly dreadful. ZIVA: That's what I said to Tony! DUCKY: My point is, Laurie Niles may have been trying to protect her daughter. The husband filed for separation. Another man was claiming to be the child's father. ZIVA: She didn't want to lose or share custody of Sarah. DUCKY: That's one possibility. What does Gibbs think? ZIVA: Hard to tell. He's currently not talking to me. DUCKY: Well, chin up, dear. It could be worse. ZIVA: Hm. How? DUCKY: He could be a bear. ZIVA: Hm. (DUCKY AND ZIVA CHUCKLE) MUSICAL BRIDGE TO: INT. INTERROGATION ROOM - NIGHT MILLER: You know, we're wasting time here. Right now there's someone out there with my daughter doing God knows what. GIBBS: Alleged. MILLER: What? GIBBS: Alleged daughter, Miller. MILLER: Whether I'm her father or not, she's still Laurie's daughter. I still care about what happens to her. GIBBS: I believe you. MILLER: Then why are we just sitting here? GIBBS: You're sitting. I'm waiting. MILLER: Waiting for what?! (SFX: CELL PHONE RINGS) (DOOR OPENS) CUT TO: INT. HALLWAY - NIGHT GIBBS: (INTO PHONE) Talk to me, Abs. ABBY: (V.O./FILTERED) I've got everything for you, Gibbs. GIBBS: (INTO PHONE) On my way. TONY: Checked Miller's alibi. GIBBS: He didn't do it. I know. MCGEE: You mind telling us how? GIBBS: Spent forty minutes with him. MCGEE: Well, all you really did was stare at him. GIBBS: Have you ever tried reading a Klingon's face, McGee? It ain't exactly easy. ABBY: (V.O.) I've I.D.ed our skeleton. CUT TO: INT. ABBY'S LAB - DAY ABBY: Our dad John is no longer a Doe. I got a ht on him from the DMV database. Lee Varon. He's thirty-eight years old, from Fredericksburg, Virginia. No criminal record. GIBBS: I want everything on this guy from birth until Ducky cracked his sternum. (GIBBS HITS MCGEE AND TONY) GIBBS: (SHOUTS) Yeah! On it, Boss! TONY AND MCGEE: (IN UNISON) Right! GIBBS: Not bad for a blonde. ABBY: You know, there's no statistical evidence that say blondes have lower I.Q.s than any other hair color. GIBBS: I'll take your word for it, Abs. ABBY: There's more, if you're interested, Mister President. I ran some tests on the piece of burnt paper found inside the kidnapper's car. There were no finger prints, but I did find traces of chemicals. GIBBS: Ink? ABBY: Yes, when I applied my own special and unique brand of chemical, ran it through the laser scanner a few times, we get... this. The miracle that separates us from all other primates. Really bad penmanship. (SFX: KEYBOARDING) ZIVA: Miller's home address. Probably given to the kidnapper by the Staff Sergeant's wife. GIBBS: She didn't kidnap her daughter. ZIVA: Then where is Laurie Niles, Gibbs? GIBBS: (OVERLAP) Last time I saw her, with you. ZIVA: Okay, I admit I screwed that one up. But why did she run? GIBBS: She was hiding something. ZIVA: So you do agree with me? GIBBS: Oh, yeah. You definitely screwed up. (GIBBS WALKS O.S.) ABBY: Is there something I should know? ZIVA: I think he's planning on devouring me. ABBY: And they say blondes have all the fun. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY MCGEE: Our dad skeleton served in the Air Force. Received an other-than-honorable discharge in two thousand three. Did one year of community college. TONY: He was a security guard, Boss. Worked for a law firm, Kapp and Associates, in Annandale, Virginia. ZIVA: Laurie Niles also works for Kapp and Associates, Gibbs. She's their chief financial officer. TONY: So she knew him. GIBBS: Oh yeah. ZIVA: She hired him to abduct her daughter. I mean, it's the only thing that makes sense. GIBBS: There's another reason. They kidnapped her because they want Laurie to do something. ZIVA: Like what? (SFX: COMPUTER BEEP TONES) MCGEE: Oooh. Got a ht on a BOLO here. GIBBS: Yeah, and, McGee? MCGEE: This is strange because I just entered it into the system. It's Varon's vehicle and it's been moving... GIBBS: There's a cop following it? MCGEE: No, the hits were generated electronically. It's his E-Z Pass for high speed toll lanes. TONY: He's doing a lot of driving for a dad guy. ZIVA: He left Woodbridge right after Laurie Niles and her sister disappeared. TONY: Made a little run up to Manassas, not too far from Miller's apartment. MCGEE: The last ht was five minutes ago.... ZIVA: Annandale. One exit from Kapp and Associates Law Firm. CUT TO: INT. LAW FIRM - DAY ZIVA: We're in. (WHISPERS) That's from Sarah's costume. Clear!(DOOR OPENS) TONY: Plates match our skeleton's car in the parking lot. GIBBS: You two... find the girl. (MUSIC OVER ACTION/GIBBS AND MCGEE MOVE ACROSS THE ROOM/ DOWN THE HALLWAY) CUT TO: INT. OUTER OFFICE - DAY MCGEE: In the last office. Far room! Far room! I have visual contact... (V.O./FILTERED) on the sisters. (ON CAMERA) There's one male Caucasian, (V.O./FILTERED) approximately thirty-five years old, holding them hostage (ON CAMERA) with a semi-atmatic wapon. CUT TO: INT. HALLWAY - DAY GIBBS: You got a positive I.D. on the little girl? CUT TO: INT. OUTER OFFICE - DAY MCGEE: That's a negative. I can only see the left side of the room, Boss. CUT TO: INT. LAW FIRM OFFICE - DAY (SFX: KEYBOARDING/ BEEP TONES) LAURA: I'm in. The insurance money is here. All three million. JANSEN: Now all you have to do is transfer it to these accounts and we call it a day. LAURA: I want my daughter first! JANSEN: You'll get her once you transfer the cash. You've been smart so far, Mrs. Niles. You played along to protect your little princess. Hate to see you blow it now. LAURA: You sht my husband! JANSEN: I didn't have a choice. We were supposed to kidnap him and the girl, but he chose to fight back. Don't make the same mistake. LAURA: How... how do I know you're not going to just kll us when I transfer this? JANSEN: I'll kll you if you don't. REBECCA: We've come this far, Laurie! Just do it and let's end this. Please. LAURA: NCIS is going to figure this out. JANSEN: I've had those Navy cops running around all night. They're clueless. Now transfer the damn money! GIBBS: (SHOUTS) Federal Agents! MCGEE: Drop your wapon!(SFX: gn) (SFX: SARAH GASPS) REBECCA: They still have Sarah. MCGEE: If she's in the building, we'll find her. MUSICAL BRIDGE TO: INT. HALLWAY - DAY (MUSIC OVER ACTION/ZIVA AND TONY WALK THROUGH THE HALLWAY) TONY: (INTO RADIO) I'm clear in the hallway. (DOOR OPENS) ZIVA: (WHISPERS) Clear! (DOOR OPENS) (SFX: SARAH GASPS/MUFFLED) CUT TO: INT. LAW OFFICE REBECCA: Laurie! CUT TO: INT. STORAGE ROOM - DAY ZIVA: Hey, we're friends with your mommy. We're here to take you home. TONY: (INTO RADIO) We have the little girl. I repeat... CUT TO: INT. LAW OFFICE - DAY TONY: (V.O./FILTERED) We have the little girl. GIBBS: Hey, hold up! Hold up! Hold up! We've got Sarah. MCGEE: Once we secure the building you and your sister can see her. (MUSIC OVER ACTION/LAURA attcks REBECCA) LAURA: (SHOUTS) She's not my sister!! She's one of them! Told me if I didn't lie to you, they'd kll my baby! GIBBS: Stop! LAURA: All they wanted was the stupid money! MCGEE: gn! LAURA: (SHOUTS) Sarah! SARAH: Mommy!(SFX: LAURIE AND SARAH SOB B.G.) LAURA: Oh, baby! I missed you so much! Are you okay? GIBBS: Apparently she doesn't have a sister. TONY: Halloween, Ziva. Be glad it only happens once a year. CUT TO: INT. SQUAD ROOM - DAY DUCKY: The sky is blue, the grass is green. May we have our Halloween! That's how we used to say trick-or-treat in Scotland. SARAH: Thank you. DUCKY: You're most welcome, your highness. ABBY: We have a lot of desks to get to. LAURA: You didn't have to do this. TONY: Well, every kid deserves a happy Halloween. SARAH: (V.O.) Trick or treat! ZIVA: Your husband is awake and asking for you and his daughter. MCGEE: There's a car waiting for you when you're ready. LAURA: Please let Agent Gibbs know how much I appreciate him keeping his word. And that I'm sorry I lied to him. I was... I was just trying to protect. TONY: Trust me. He knows. SARAH: Look at this! (GIGGLES) (INTERCUT FLASHBACK SCENE OF GIBBS' DAUGHTER TRICK OR TREATING) (DAUGHTER'S VOICE: "Daddy! Daddy, I got more candy!") (MUSIC UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x07 - Sandblast"}	foreverdreaming
MUSIC IN: INT. HOTEL DINING AREA - DAY (MUSIC OVER ACTION/CAMERA PANS AROUND THE GUESTS) (SFX: ZIVA SLAPS TONY) TONY: Ow! ZIVA: We're not here to eat. We're here to protect the Director. TONY: Ziva, this is probably the most secure building in the whole country right now. CIA, DSS, AF, F.B.I... the whole alphabet's here. Not to mention State Troopers, Metro Cops and NCIS' finest....me. (bat) And you. But "me" is hungry. These are public servants like us. This is free food. ZIVA: Some are defense contractors. TONY: Beltway Bandits who make a career of standing in front of the public trough. ZIVA: Politicians. TONY: Have you ever seen a skinny politician? ZIVA: Too late. Our guest of honor has just arrived. CONVENOR'S: (V.O.) Ladies and gentlemen, the retiring Secretary of Defense of the United States of America! (SFX: APPLAUSE) TONY: I'm going to get something to eat. (SFX: VOICES MURMUR B.G.) ZIVA: (SHOUTS) Director! (MUSIC OVER ACTION/ZIVA RUNS TO SHEPARD/ KNOCKS HER OUT OF HARM'S WAY) (SFX: VOICES B.G.) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. DINING AREA - DAY "ONCE A HERO" TONY: Exactly thirty seven minutes... POLICEMAN: Yeah, that'll do. SHEPARD: Good morning, Gibbs. McGee. GIBBS: Director Shepard. SHEPARD: Our gatecrasher was a Marine. Sergeant Brian Wright. The hotel was in lockdown and he wasn't a registered guest. He took a dive from up there somewhere. SecDef staff are worried that it was an attempt on the life of their boss. GIBBS: Are we worried? SHEPARD: If it was an assassination attempt, he's a lousy assassin. He used his body as a wapon and missed by seventy-five feet. (V.O.) Ducky's doing the preliminaries. I've got Tony liaisoning between Metro (ON CAMERA) and hotel management. And we have a witness. Andy Nelson. Ziva's with him. He's an aide to a congressman. Nelson claims he was attcked by the deceased on the sixth floor just before the incident. GIBBS: Do you believe him? SHEPARD: He works for a politician. What do you think? I'm officially handing over. I've got my own fires to put out. This happened in our backyard. It's making a lot of people nervous. I'd appreciate a quick result on this one. (SHEPARD WALKS O.S.) MCGEE: The question is, did he jump or was he pushed? Guess that's what we're here to find out. GIBBS: Go. MUSICAL BRIDGE TO: EXT. HOTEL - DAY NELSON: Enough. It's okay. ZIVA: Mister Nelson has been explaining how he got injured. NELSON: He just came at me. He ht me. I fell down and he ran away. GIBBS: Did you see him fall? NELSON: I just got out of there. I was down in the lobby to report it when he fell. ZIVA: Why were you on the sixth floor? NELSON: I was delivering a briefing paper to a defense contractor in one of the suites. Norforce Systems. I was walking towards the elevator. GIBBS: Did you see him before? GETZ: Every day. Congressman Getz. (bat) Well not the deceased, just sad souls like him. The homeless. ZIVA: Unconfirmed. GETZ: And a wr veteran, or we'd be talking to Metro Police and not NCIS, Agent... GIBBS: Special Agent Gibbs, and he was a Marine. GETZ: We need to do more to help the ones who come back broken. GIBBS: Yes, you do. GETZ: Let's get that X-rayed, Andy. Unless Agent Gibbs has more questions about this unfortunate incident. (GETZ AND NELSON WALK O.S.) ZIVA: Did I just miss something? GIBBS: The Congressman thinks our Marine was crazy and jumped. CUT TO: INT. HOTEL DINING AREA - DAY GIBBS: Dinozzo... TONY: Boss? GIBBS: Stop eating the evidence. TONY: Right, Boss. GIBBS: Got preliminaries? DUCKY: I find the ones who fall are the saddest. Such a long last moment to contemplate one's end. And no chance to change one's mind. Well, the injuries are consistent with a fall. But scraped knuckles, possibly in a fight before he went over the edge. Missing a shoe, no wallet, although he had some dollars in his pocket. And a begging note asking for help. The only real surprise is this.... a Bronze Star for valor. GIBBS: And a Purple Heart. DUCKY: Two Marine Stars, that means he was wounded three times in battle. I can't tell you why he died, but I can perhaps tell you how he lived. The man was a hero. (SFX: CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. MCGEE: (V.O./FILTERED) Hey, Boss. (INTO PHONE/FILTERED) I think this is where he launched. (INTO PHONE) Shoe must have come off when he went over the side. GIBBS: (INTO PHONE) Okay. ZIVA: Nelson said he was back downstairs when Wright fell. The question is, what was Sergeant Wright doing? TONY: Deciding whether to jump. GIBBS: Photographs? TONY: Got it. GIBBS: Dinozzo. The stairs. ZIVA: Maybe the congressman was right. Maybe Sergeant Wright was crazy and jumped. GIBBS: Or the Director was right. Politicians lie. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY MCGEE: (INTO PHONE) And we will need a copy of his medical records. ZIVA: You're disgusting. How can you eat that? TONY: You see, Ziva, the human body is a finely tuned engine. None more finely tuned than mine. Even the best engine needs oil. GIBBS: Dinozzo. TONY: Boss? GIBBS: Anything from the hotel registry? TONY: Seven hundred and two names. None of them Sergeant Wright. GIBBS: Ziva, the congressman's aide... ZIVA: Single. No criminal record. He worked for the congressman for the past seven years, and according to Norforce Systems, a briefing paper from the congressman's office was delivered to their suite, but they can't put a time on it. MCGEE: Boss, I just got off the phone with Wright's doctor in Bethesda. He did two tours in Iraq. He was wounded three times. Last time was the worst. His Humvee was ht by an IUD. Suffered shrapnel wounds to the head. He's been on medical leave for four months, but according to the hospital records, he's missed his last three weekly appointments. GIBBS: No one noticed? MCGEE: Said he fell through the cracks. GIBBS: Family? MCGEE: Divorced. No kids. His doctor said he stayed with friends, at hostels. Sometimes on the street. ZIVA: What kind of doctor? MCGEE: Psychiatrist. ZIVA: Treated for? MCGEE: Depression. TONY: Some way to treat a wr hero. MCGEE: I thought Marines looked after their own? ZIVA: How does a homeless man get past the security agents, local cops, hotel staff, into a locked-down building? GIBBS: Well, maybe he was already there. CUT TO: INT. HALLWAY - DAY GIBBS: Luis Romero. ROMERO: Yeah. GIBBS: Special Agent Gibbs, NCIS. ROMERO: Is this about the jumper? GIBBS: So you saw him jump? ROMERO: No. GIBBS: But you saw him. ROMERO: No. MCGEE: Corporal Luis Romero, United States Marine Corps. One tour, Afghanistan. Honorable discharge eighteen months ago. Since then, hotel maintenance supervisor. ROMERO: So I'm a former Marine. Lot of guys are. MCGEE: Not at this hotel. GIBBS: We look after our own, don't we, Luis? ROMERO: All right. We served in the same unit three years ago. He didn't have a place to sleep. MCGEE: So where did you put him? ROMERO: Oh, we always got a couple rooms down for maintenance. Didn't see any harm in it. MCGEE: How long had he been here? ROMERO: A couple times a week for the last month. Didn't cause any trouble. Semper fi, you know? GIBBS: Show us the room. CUT TO: INT. HOTEL ROOM - DAY (SFX: ELECTRONIC BEEP) (DOOR OPENS) MCGEE: Wait at the door, please. Anyone else been in here? ROMERO: No, just him. MARIA: (V.O./FILTERED) Luis! Luis! ROMERO: (INTO PHONE) Yeah. MARIA: (V.O./FILTERED IN SPANISH) Something's happened! You need to come here quickly! ROMERO: Um... something's happened! (MUSIC OVER ACTION) CUT TO: INT. HALLWAY - DAY MARIA: (IN SPANISH) I don't believe it! I don't believe it! Luis, there! There in the room. In the bed. Mother of God... (GIBBS AND MCGEE WALK INTO THE ROOM) MUSICAL BRIDGE TO: INT. LIMO - MOVING SHEPARD: (INTO PHONE) I understand, Chief, but we believe the two cases are linked. CUT TO: INT. HOTEL ROOM - DAY CHIEF: (V.O./FILTERED) Do they have any proof? SHEPARD: (V.O./INTO PHONE) No, not yet. We're still collecting evidence. CHIEF: (V.O./FILTERED) They'll send us a report? SHEPARD: (V.O./INTO PHONE) Yes, absolutely. CHIEF: (V.O./FILTERED) Okay. CUT TO: INT. LIMO - DAY SHEPARD: (INTO PHONE) And if anything changes, we will hand over everything we have. CUT TO: INT. HOTEL ROOM - DAY CHIEF: (V.O./FILTERED) So if you can't tie them together, you'll turn it over to my people? SHEPARD: (INTO PHONE) That's right. And cause of death hasn't been determined yet, either. CHIEF: (V.O./FILTERED) Fair enough. Let me know. CUT TO: INT. LIMO - DAY SHEPARD: (INTO PHONE) Thank you, Chief. I will. CHIEF: (V.O./FILTERED) Thank you.(SFX: MUFFLED HANG UP) SHEPARD: (INTO PHONE) Did you get all that, Jethro?(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Got it. SHEPARD: (V.O./FILTERED) Metro Police will want to see results. GIBBS: (INTO PHONE) Add them to the list. (SCENE CUT) SHEPARD: (INTO PHONE) It's a long list. (SCENE CUT) SHEPARD: (V.O./FILTERED) And it's getting longer. GIBBS: (INTO PHONE) Working on it.(END TELEPHONE INTERCUTS) CUT TO: INT. HOTEL ROOM - DAY ZIVA: There's something on her cheek. Looks like saliva. Kiss and kll. MCGEE: No bag. Maybe the kller took it. ZIVA: Maybe she just didn't have a bag. MCGEE: Every woman has a bag. ZIVA: Do I have a bag, McGee? MCGEE: No, but you're not a ... well, I mean, you're a woman. You're just... you're not.... not a normal.... (bat) You are right. Every woman does not have a bag. GIBBS: How old? ZIVA: No I.D. No pocketbook. And no bag, either. TONY: The room was booked to Michael Lo. Sounds Asian. Single occupancy. Room was paid for in cash in advance. MCGEE: Sounds fake. TONY: They're going to review the security tapes, and send us what they've got. MCGEE: Boss? GIBBS: Mister Romero, recognize this? ROMERO: It's um... the keycard I gave Sergeant Wright. It's a master key. It opens up every room in the hotel. (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY ZIVA: Are you okay? TONY: Never better. ZIVA: You look run-over. TONY: The term is rundown. I do? ZIVA: Maybe you need servicing. TONY: Clearly, we're still having some problems with the idiosyncrasies of the English language. ZIVA: The finely tuned engine, I think you called it. You should see a doctor. (SFX: CELL PHONE RINGS) TONY: (INTO PHONE) Hello? Hi! Yeah. No, it's not a bad time. This afternoon would be great. Well, I will see you then. Okay, 'bye. ZIVA: Two cell phones, huh? TONY: Uh... one for each ear. No, it's a spare. This one has sort of been on the fritz. That's another word you probably don't know the meaning of. ZIVA: Act up? TONY: I'm impressed. Uh... all right. I'm heading out. Going to see the doctor.... about being run-over. Down. ZIVA: Don't forget Fritz. TONY: Oh!! CUT TO: INT. ABBY'S LAB - DAY ABBY: Fingerprints solve ten times more cases than DNA. Did you know that, McGee? MCGEE: Yeah, I told you. ABBY: You did? MCGEE: Yeah. ABBY: You did! You gotta love fingerprints. Especially this one from the keycard. A pristine index with the almost perfect whorl and three... I mean, count them, three, McGee, equally spaced deltas. Ah... it's a work of art. Then we have the short and curlies. The hair. There's no follicle, and no DNA. So I am checking it for drug history. If it is Sergeant Wright's, considering his extensive medical records, this should read like a drugstore inventory. And if it doesn't, he ain't our man. MCGEE: What price valor? ABBY: Eighteen bucks. For real. I looked it up on eBay. Bronze Star. Eighteen bucks. MCGEE: No wonder he got depressed and started living on the streets. And begging. One minute you're a hero, the next you're a... ABBY: Suspect. But don't give up on him yet, McGee. MCGEE: Whoa. ABBY: Where's Gibbs? (PASSAGE OF TIME) GIBBS: What am I looking at? ABBY: Nothing. GIBBS: Nothing? Nothing's good, right? MCGEE: Oh, yeah. Nothing is very good. ABBY: If this was Wright's hair, it would be like looking into a window of his drug history. But all this shows is... GIBBS: Unknown trace elements. ABBY: Too minute to be picked up by the mass spec equipment. So it's probably not Wright's. MCGEE: Oh, we can't be sure they're not there, unless we get a better microscope. ABBY: We're talking nano-particles, here, Gibbs. We need a... MCGEE: An infrared microspectroscopy unit. It's the only thing that gets down to the nano level. GIBBS: Okay, get one. MCGEE: They cost about a hundred grand. GIBBS: Yeah, so? SHEPARD: So it's not in the budget. Maybe next year. GIBBS: She needs one now! SHEPARD: Sorry. ABBY: I could haggle. My Uncle Horace, he was a great haggler. They used to call him Horace-the-Haggler. (LONG bat) Or I could borrow one. (LONG bat) I'll try and borrow one. (SFX: COMPUTER MESSAGE TONE) ABBY: It's the fingerprint from the keycard. MCGEE: Oh, that's not good. It puts him in the dad girl's room. SHEPARD: Sorry, Jethro. GIBBS: Find out who owns that. (TO SHEPARD) Come on. SHEPARD: Don't start. Do you know how many people want money for things? GIBBS: Did I say anything? (SHEPARD AND GIBBS WALK O.S.) MCGEE: How are you going to get loaned an infrared microspectroscopy unit? ABBY: Good question, McGee. Good question. CUT TO: EXT. STREET - DAY JEANNE: I love window shopping. How about you? TONY: Oh, yeah. Me, too. (bat) Only when I'm with you. JEANNE: Cold? TONY: It's invigorating. JEANNE: Chilly? TONY: Freezing. JEANNE: Oh, poor Tony. I dragged you out here to go window shopping. Next time maybe you should choose. TONY: Hot tub. JEANNE: I know something else we can do to stay warm. TONY: Really? JEANNE: Mmm. TONY: I wonder what that could be? VENDOR: (V.O.) One cappuccino, one latte. TONY: Coffee? JEANNE: Mmm. Dancing. TONY: Dancing? Dancing would make you warm. JEANNE: Then tonight we dance. TONY: Tonight. JEANNE: Don't tell me you have to work. TONY: Tonight dancing, tomorrow work. JEANNE: You don't seem too happy about that. TONY: I'm worried. JEANNE: Worried about what? TONY: Well, we're going dancing tonight, and I haven't got a thing to wear. JEANNE: Has anyone ever told you you're an idiot? TONY: Yeah, my boss, all the time. JEANNE: Hmm. CUT TO: INT. CONVENTION CENTER - DAY (MUSIC OVER ACTION/ABBY WALKS THROUGH THE FAIR) ABBY: Oh, I'm sorry. MAN: Sorry. ABBY: Yes! PEARSON: Just leave it on the table. (SFX: ABBY PLACES THE CUP ON THE TABLE) PEARSON: That's not juice. ABBY: Well, the coffee bean comes from the coffee cherry. So that's technically a fruit. So the case could be made that coffee is more fruit than bean. It's coffee... juice. Caf-pow. PEARSON: Caf-pow? ABBY: Yeah. Two words hyphenated in the middle. PEARSON: Can I help you with something? ABBY: I was hoping to get a demonstration of your infrared microspectroscopy unit. PEARSON: You don't work here. ABBY: Like this place would hire me? PEARSON: Sorry. I'll set up a sample. ABBY: No, no. I have one. I brought my own. See, I work for NCIS in D.C. But we don't have anything that can get down to the nanogram level, which is what I need to figure out what the hell is going on with my sample. You don't mind that I said hell, do you? PEARSON: Hell, no. ABBY: Oh, good. I mean, some people do. And then you get into the whole hell, and death and dying mortality thing. It freaks them out. Can you help me? PEARSON: If you want to leave it with me. ABBY: No, no! I can't. Chain of evidence. I have to do it with you. Not with you, but alongside you. I have to be with you. I have to ....be with you while you do it. While you test it. PEARSON: I normally like to know who it is I'm working with. Marty Pearson. ABBY: Abby Sciuto. PEARSON: Nanograms, eh? ABBY: Yes. Pesky little nanograms. PEARSON: Is that a--? ABBY: Yes, it is. PEARSON: Cool! CUT TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN) (SFX: DRAWERS SLIDE OPEN/ CLOSED) LEE: Wright, Sergeant Brian. Records, medical. DUCKY: Oh, splendid. Uh... I'm a little post autopsy. Mister Palmer will sign it. LEE: Sure. DUCKY: We must get you down here more often, Agent Lee. There's always room for another bright young mind. Not that there's anything wrong with the legal department. It's an essential cog in the engine, so to speak. It can't be much fun for a hands-on type like you. GIBBS: You think? (LONG bat) Done? DUCKY: Done indeed. Intrigue, mystery, and a surprise or two. Yes, I've estimated our victim's age at about fourteen. Death was due to strangulation. She had bleeding in her throat, and the hyoid bone was fractured. There's some bruising on the sternum that has me a bit puzzled. Possibly postmortem... (DRAWER OPENS) GIBBS: Conscious? DUCKY: Well, superficial scratching and ante mortem bruising suggests that she put up a struggle of sorts. But toxicology indicates that she was drugged... and for some time. GIBBS: Hours? DUCKY: Well, possibly days. There are traces of sedatives, and Rohypnol, the drug of choice for date rapists. And before you ask the question... yes. She was. But he must have worn a condom. The really good news is that I've identified her. GIBBS: By name? DUCKY: No, by country. She's Chinese. Yes, you're less than impressed. But what if I told you that four weeks ago she was working on the family farm in a coastal region of southern China? In Fujian Province, to be precise. GIBBS: Well, now you have my attention, Doctor. DUCKY: It was her extremities that gave her away. The Chinese dentistry is quite distinctive. Her dental work is very new.... five, or maybe six weeks ago. And ... her feet are calloused, indicates that she was a farm worker. We also found traces of chromium six in her digestive tract. It's a bi-product of chlorate. It causes cancer and respiratory problems. Guess where the biggest chlorate chemical factory is in Asia? GIBBS: Fujian Province. DUCKY: Well, there you have it. The body as road map. GIBBS: Anything else? DUCKY: Yes. Her likely kller Sergeant Brian Wright. We had a positive DNA match from the saliva we swabbed from her. I'm afraid our hero is more than a little tarnished.(SFX: DRAWER OPENS) (MUSIC OUT) MUSIC IN: INT. SQUAD ROOM - DAY MCGEE: How does a homeless guy who's staying illegally in a hotel order room service? TONY: This wouldn't be a trick question, would it, Probie? MCGEE: No. TONY: He calls room service. MCGEE: (INTO PHONE) Room service, hi. This is the homeless guy staying illegally in room six-oh-seven. Yes, the room shut down for maintenance. I'd like to order some breakfast. TONY: That was definitely a trick question. MCGEE: So give me a tricky answer. TONY: Somebody brought it to him. MCGEE: Not very tricky. I've got to talk to Ducky. (SFX: TONY MIMICS MCGEE) (SFX: ZIVA PLACES THE CASSETTES ON TONY'S DESK) TONY: What is with everybody today? (READS) Hallway camera D. The title needs work. Who's in it? ZIVA: Hopefully the Asian guy who booked the room. Looks like the doctor kept you... TONY: Busy waiting room. Lot of sleeping sickness going around. Or lack-of- sleeping sickness. GIBBS: Ducky thinks our victim is a Chinese National, probably in the country less than a few weeks. TONY: Well, her fingerprints drew a negative on the immigration database. So she's here illegally. ZIVA: Smuggled in. Maybe for the sex trade. Asian, cute, underage. TONY: It's a goldmine! Pimp pays cash, sets her up in a room during a nice big convention, feeds her clients. ZIVA: And then one of them kills her. GIBBS: Sergeant Wright doesn't fit that profile. ZIVA: Wright didn't need to pay to get into the room. He had a magic key. He saw an opportunity. He took it. Perhaps because of his mental state he lost control. And afterwards, regret, and he took his own life. TONY: Fits the facts, Boss. GIBBS: Only the facts we know, Dinozzo. Any word from Abby? TONY: Not a peep. CUT TO: INT. CONVENTION CENTER - DAY ABBY: I've got to get one of these babies. PEARSON: Looks like trace elements of aluminum hydroxide and formalin. ABBY: Aluminum hydroxide stimulates the immune system. And formalin is a preservative. PEARSON: It's also used to initiate antibody formation in vaccines. (bat) Did I just say something funny? ABBY: No. No. I just... it's just that we're having this conversation about stuff that usually makes people run screaming from the room. But we're talking about it like it was last night's football game. You don't like football, do you? PEARSON: No. ABBY: Oh, good. It's just nice that you understand without having to go find a dictionary. You said vaccines? PEARSON: I said vaccines. ABBY: That's got to be it. The vaccine for what? PEARSON: Aluminum hydroxide is used as an adjuvant in Hepatitis A and Lyme Disease. ABBY: There's traces of chloride. PEARSON: Not just any old chloride. Benzethonium chloride. It's a preservative. ABBY: Aluminum hydroxide, formalin, and benzethonium chloride. I know that combination. PEARSON: How do you know that combination? ABBY: I don't know. It must have come through my lab or something. PEARSON: The only thing I can think of using benzethonium chloride for as a preservative is... anthrx vaccine. ABBY: Ooh, anthrx. Breathe in the spores and you die. PEARSON: You don't have an unhealthy obsession with death now, do you? ABBY: Oh, no. No. It's just a hobby. anthrx vaccine. That's why I knew it. I got one right here. Ow. Pain memory response. PEARSON: So... good or bad for your Marine? ABBY: It's bad. Very bad. A lot of Marines were vaccinated for anthrx after Nine Eleven. I have to make a phone call. MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY MCGEE: Boss, hey. GIBBS: Sergeant Wright's autopsy report? MCGEE: Yeah. I was checking something. Something didn't fit. It's just a theory. But it's about what Wright ate. GIBBS: What did he eat? MCGEE: Nothing. Not since the night before. I asked Ducky. But the room service tray on the bed was half-finished. Which raises another question. How did he get room service if he wasn't supposed to be in a room in the first place? GIBBS: Yeah, go on. MCGEE: People leave trays outside their doors. I think that he found one that was half finished. He took it back to his room. Something must have happened before he could eat it. Wright's begging note. GIBBS: Or somebody else's. MCGEE: Hidden under a plate on the tray. And he found it. Must be why he went back to the room. Once a hero, always a hero. (SFX: CELL PHONE RINGS) MCGEE: (INTO PHONE) McGee.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) McGee, it's Abby. I need you to pull Wright's medical records. (SCENE CUT) MCGEE: (INTO PHONE) One second. I got it. What do you need? ABBY: (V.O./FILTERED) I'm checking for an anthrx vaccine. (SCENE CUT) MCGEE: (V.O./FILTERED) Let's see... (SCENE CUT) MCGEE: (INTO PHONE) It's negative. (SCENE CUT) ABBY: (INTO PHONE) Yes! Oh, McGee, it's not Wright's sample. (SCENE CUT) MCGEE: (INTO PHONE) I'll tell him. Thank you. (TO GIBBS) Boss, the hair found on the victim indicates the kller had an anthrx vaccination. Wright never had one.(END TELEPHONE INTERCUTS) CUT TO: INT. CONVENTION CENTER - DAY PEARSON: Chalk another one up to science! ABBY: Ah, I could not have done it without the IMS. And... and you. PEARSON: So... who do I make the receipt out to? ABBY: Oh, um...oh, I feel really bad, Marty. And you worked really hard on this. I um... PEARSON: Hmm. Do you bowl? ABBY: Are you kidding me?! I am the queen of the alley! PEARSON: You know they've got a bowling alley right downstairs. ABBY: In the hotel? PEARSON: Right next to the indoor pool. Or.... we could do dinner. ABBY: Oh, no! You're just afraid of getting your butt kicked on the lanes. PEARSON: You are on, lady! ABBY: I can't believe you bowl! PEARSON: Why not? ABBY: It's just... it's such a coincidence. Are you a three-quarter or a full roller? PEARSON: It makes no difference to me. I've got a delicate touch. (SFX: ABBY GIGGLES) CUT TO: INT. SQUAD ROOM - DAY ZIVA: So the hair wasn't Wright's, but the saliva definitely was. DNA match. He was kissing the girl. GIBBS: There's more than one reason to kiss a girl. TONY: There is? MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY (PHONE RINGS) DUCKY: (INTO PHONE) Autopsy.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) I've got a question for you. DUCKY: (V.O./FILTERED) I can't guarantee.... Special Agent DUCKY: (INTO PHONE) ... I've got an answer. GIBBS: (V.O./FILTERED) The bruising on the girl's ... (SCENE CUT) GIBBS: (INTO PHONE) .... sternum. Could it be from CPR? DUCKY: (V.O./FILTERED) Very... (SCENE CUT) DUCKY: (INTO PHONE) ....possibly. This is most probable when you weigh all the other evidence. (SCENE CUT) DUCKY: (V.O./FILTERED) It would explain how Wright's ... (SCENE CUT) DUCKY: (INTO PHONE) ... saliva came to be on her. (SCENE CUT) DUCKY: (V.O./FILTERED) I'll have to confirm that, of course. But... (SCENE CUT) DUCKY: (INTO PHONE) ... yes, that could be your answer. CPR. Which means Wright was trying to kll her, he was trying to save her. (SCENE CUT) GIBBS: (INTO PHONE) Let me know when you get a confirmation.(END TELEPHONE INTERCUTS) TONY: So we're looking for someone with an anthrx vaccine. ZIVA: Instead of one suspect, we now have half a million - all of them military. TONY: Maintenance guy? MCGEE: Fixing a leak in the kitchen. Chefs were tripping over him all day. TONY: Scratch Romero. MCGEE: After Nine Eleven, anthrx was sent through the mail. Most people at risk were vaccinated: Pentagon officials, Senators, Congressmen. TONY: Everybody at the reception. GIBBS: And people who open their mail. NELSON: (V.O.) Yes, I had an anthrx.... CUT TO: INT. INTERROGATION ROOM - DAY NELSON: ... vaccination. Along with most everyone on The Hill, Agent Gibbs. They were troubling times. GIBBS: They still are. ABBY: After you delivered the briefing papers to Norforce Systems, what did you do? NELSON: I walked down the hallway toward the elevator, and that's where Wright attcked me. ZIVA: Norforce Systems' suite was right next to the elevator. Do you want to try this again? NELSON: Do I need a lawyer? GIBBS: Only if you're feeling guilty. ZIVA: You were walking towards the elevator because you were not coming from Norforce Systems, you were coming from a room down the hallway. NELSON: No! ZIVA: Yes! A room where an underage girl was klled! NELSON: And you think I'm responsible? GIBBS: If you're not, then you won't mind giving us a hair sample. ZIVA: The kller left a calling card and we think your name is on it. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY (MUSIC OVER ACTION/TONY WATCHES VIDEO FOOTAGE) (SFX: TONY JUMPS FROM HIS CHAIR) CUT TO: INT. INTERROGATION ROOM NELSON: This is outrageous! I was attcked by a violent, unstable, man! If you're looking for a mrder, you should be looking at him, and not me! ZIVA: Are you refusing to voluntarily give us a hair sample, Mister Nelson? Because if you are, we can just get a court order. NELSON: I didn't kll anyone! (DOOR OPENS) TONY: Boss? CUT TO: INT. SQUAD ROOM - DAY TONY: Eight seventeen. They're all reacting to the same thing. ZIVA: Wright dropping in for breakfast? TONY: Nelson might have klled the girl, but there's no way he klled Wright, Boss. (MUSIC UP AND OUT) FADE IN: INT. INTERROGATION ROOM - DAY (DOOR OPENS/ CLOSES) NELSON: I want to make a phone call! GIBBS: Lawyer? NELSON: Someone much more powerful. GIBBS: Your boss? Underage. Illegal. dad. You really think your boss wants to talk to you? Did you kll her before or after you pushed Sergeant Wright? NELSON: I didn't kll her. I didn't push Sergeant Wright. I was on the ground floor when he jumped! GIBBS: You went to the room. Trying to save her, you attcked him. NELSON: No. GIBBS: You rped her. (bat) You klled her. You threw Sergeant Wright off the balcony. NELSON: (SHOUTS) I never saw Sergeant Wright!! GIBBS: Then how did he attck you? NELSON: She ht me with the lamp. I was just trying.... just trying to stop her. I had to explain this somehow, so I said Wright attcked me. GIBBS: Who took you up to her room? NELSON: No one. I um... I met him outside the hotel. Paid him. And he gave me the key card. GIBBS: A regular client? Different girls every time? NELSON: Different girls. I ran into him downstairs.... at the elevator. And I told him she was dad. He went up. GIBBS: Name. (SHOUTS) Name!! MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY TONY: (V.O.) Davey Chen Importing Company. ZIVA: Kept himself pretty clean. A couple of misdemeanors. No felonies. Nothing to suggest he was involved in the sex trade of underage girls. MCGEE: Got enough to arrest him for mrder? ZIVA: No physical evidence. His word against Nelson's. TONY: Well, let's go kick his door down and find some evidence. GIBBS: We do that, Tony, we lose those girls. ZIVA: Could have lost them already. slve traders move their girls all the time. They could be on their way to Vegas now. Or dad. TONY: Send someone in undercover. ZIVA: I'll do it. GIBBS: No. We need someone closer to home. Dinozzo! TONY: Boss. GIBBS: Get me twenty-five thousand dollars. TONY: Check or plastic? GIBBS: Cash. GIBBS: On it. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN) DUCKY: Mister Palmer, where did you and -- (DOOR OPENS) JIMMY: Oh, sorry, Doctor! DUCKY: Where did you and Agent Lee go? JIMMY: I didn't go anywhere with Agent Lee. I signed Sergeant Wright's medical records, and then she left. DUCKY: Did she sprint out of here? JIMMY: Yeah, she was in a hurry. DUCKY: Well, evidently so were you! When I looked up from washing my hands, both you and she had disappeared, and Agent Gibbs was standing here. Where did you hurry off to? JIMMY: The restroom. I... DUCKY: And you've been in there all this time? JIMMY: I have a ... a gastrointestinal challenge. DUCKY: Oh! Well, I believe there's a bottle of subsalisate... JIMMY: I drank that! DUCKY: What? All of it? JIMMY: I didn't want to spend the whole day sitting in the restroom. That won't hurt me, will it? DUCKY: Well, no. But you're going to feel as if you've been on bread and water for a week. JIMMY: Pardon? DUCKY: Well, the old Naval punishment of bread and water for a week was not to punish by depriving the offending sailor of food, as much as to plug up his gastrointestinal tract. JIMMY: (LOUDLY) Oh, that is awful! Ah! DUCKY: Mister Palmer, I'm not deaf. JIMMY: I'm sorry, Doctor. Just the thought of punishing someone that way just sounds so... uncivilized. DUCKY: Did those doors just open and shut? JIMMY: I don't think so. No. DUCKY: Strange. Very strange. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY (SFX: DOORS SLIDE OPEN) TONY: It's just that she's never been undercover, Boss. GIBBS: She's a highly trained NCIS Special Agent. TONY: She's more probie than even Probie. GIBBS: She's got excellent backup. TONY: Me? GIBBS: Ziva. SHEPARD: You are causing quite a stir on The Hill. Underage dad girls and Congressional aides make people nervous. GIBBS: Good. MCGEE: Well, she looks the part, just like a... ZIVA: Whore? MCGEE: ...Courtesan. ZIVA: Oh. GIBBS: Are you sure you're ready for this? LEE: I saw the girl in autopsy. Yeah, I'm ready. GIBBS: Okay, McGee. MCGEE: Separate radio transmitter and GPS built into the lining. Pressure switch on the handle turns it off if they sweep for bugs. Turns it back on when they're finished. SHEPARD: Chen's going to be suspicious of everyone. Particularly if someone like Agent Lee shows up. We need something else, McGee. MCGEE: Got just the thing, Boss. MUSICAL BRIDGE TO: INT. OUTSIDE ELEVATOR - DAY (SFX: ELEVATOR DINGS/ DOORS SLIDE OPEN/ CLOSED) TONY: Hey, Jimmy. JIMMY: Hey. (ELEVATOR DINGS/ DOORS SLIDE CLOSED) CUT TO: EXT. ALLEY - DAY (MUSIC OVER ACTION/CAMERA PANS THE ALLEY) CUT TO: INT. CAR - PARKED GIBBS: (INTO MIC) Dinozzo? CUT TO: EXT. ALLEY - DAY TONY: (FILTERED) In position, Boss. CUT TO: EXT. STREET - DAY CHEN: (INTO PHONE/IN MANDARIN) What's the problem? Don't worry, I'll fix it. But tell me this... Why is he asking you about this? How can you be so stupid? You have to listen to me! (DOOR OPENS) CUT TO: INT. CAR - PARKED GIBBS: (INTO MIC) Target has entered the building. CUT TO: EXT. ALLEY - DAY MCGEE: (V.O./FILTERED) GPS... CUT TO: INT. MTAC - DAY MCGEE: ... locked on. CUT TO: INT. CAR - PARKED SHEPARD: (V.O./FILTERED) MTAC is standing by, Agent Gibbs. It's your call. GIBBS: (INTO MIC) We are in play. CUT TO: INT. WAREHOUSE - DAY (DOOR OPENS/ CLOSES) LEE: Excuse me! CHEN: We're closed. LEE: Even for a cash customer, Mister Chen? CHEN: What do you want? LEE: (IN MANDARIN) My sister. CUT TO: INT. MTAC - DAY CHEN: (V.O./FILTERED) Who are you? I don't know you or your sister? CUT TO: INT. WAREHOUSE - DAY LEE: Maybe this will help you remember. CUT TO: INT. MTAC - DAY (SFX: STEADY BEEP TONES) MCGEE: She's klled the transmission. They're sweeping her for bugs. She'll resume the transmission when it's clear. GIBBS: (V.O./FILTERED) Stand by-- CUT TO: INT. CAR - DAY GIBBS: (INTO MIC)...Tony. No contact, in thirty seconds we're going in. TONY: (V.O./FILTERED) Gotcha Boss. CUT TO: INT. MTAC - DAY MCGEE: Fifteen seconds. (LONG bat) Twenty seconds. (LONG bat) Twenty-five seconds. SHEPARD: Come on, Lee. Turn us back on. LEE: (V.O./FILTERED) Twenty-five thousand dollars. CUT TO: INT. WAREHOUSE - DAY LEE: Another twenty-five when I get my sister back. CUT TO: INT. CAR - PARKED CHEN: (V.O./FILTERED) And what makes you think I have your sister? CUT TO: INT. WAREHOUSE - DAY LEE: It must be another Davey Chen I'm looking for. CHEN: What's her name? LEE: She's fourteen years old from Fujian Province. I don't know what you call her, but my family calls her Xiu Mei. CHEN: You're a long way from home. LEE: So is she. But I wasn't abducted off my parents' farm. CHEN: Too old. That's a lot of money for the daughter of a farmer. LEE: I work in Shanghai. I'm good at what I do. American businessmen show their appreciation. Do we have a deal? CHEN: Come with me. (MUSIC OVER ACTION/LEE WALKS TO THE BACK ROOM) CUT TO: INT. MTAC - DAY MCGEE: Game on. MUSICAL BRIDGE TO: INT. BACK ROOM - DAY (DOOR OPENS/ CLOSES) CUT TO: INT. MTAC - DAY MCGEE: We've lost the signal. SHEPARD: She turned it off? MCGEE: I can't tell. CUT TO: INT. BACK ROOM - DAY CHEN: Who do you work for? LEE: I'm here for my sister. (SFX: CHEN SLAPS LEE) LEE: Ah! CUT TO: INT. CAR - PARKED GIBBS: Talk to me, McGee. MCGEE: (V.O./FILTERED) Yeah, working on it, Boss. CUT TO: INT. BACK ROOM - DAY (MUSIC OVER ACTION/CHEN UNCOVERS THE TRANSMITTER) CHEN: F.B.I.? Police? LEE: You don't think I came alone, do you? CHEN: You're alone now. They can't hear you. This room is protected against bugs. CUT TO: INT. MTAC - DAY MCGEE: That's her backup camera. SHEPARD: There's interference. MCGEE: They're in a screened room. It's jamming the signal. SHEPARD: (INTO MIC) Gibbs, we've got a problem. CUT TO: INT. CAR - DAY GIBBS: Dinozzo, cover the back door! We're going in! (DOOR OPENS) CUT TO: EXT. ALLEY - DAY TONY: (INTO MIC) Got it. CUT TO: INT. MTAC - DAY MCGEE: She's moving. Exiting a door. MUSICAL BRIDGE TO: EXT. ALLEY - DAY (MUSIC OVER ACTION) (DOOR OPENS) CUT TO: INT. WAREHOUSE - DAY (MUSIC OVER ACTION/GIBBS AND ZIVA SEARCH THE WAREHOUSE) GIBBS: Clear! ZIVA: Clear! CUT TO: INT. BACK ROOM - DAY (DOOR OPENS) GIBBS: Clear. (INTO MIC) Dinozzo, they're gone. Anything? CUT TO: EXT. ALLEY - DAY TONY: (INTO MIC) Nothing, Boss. They didn't come out this way. CUT TO: INT. MTAC - DAY SHEPARD: (INTO MIC) We're only getting intermittent video signals. MCGEE: Aerial surveillance is negative. They're definitely on the move. (INTERCUT WAREHOUSE SCENE) SHEPARD: (INTO MIC) Gibbs, check for a basement entrance. They've gone underground. CUT TO: INT. BACK ROOM - DAY ZIVA: What exactly are we looking for? GIBBS: Trapdoor. Anything. MUSICAL BRIDGE TO: UNDERGROUND TUNNEL - DAY (MUSIC OVER ACTION) CUT TO: INT. MTAC - DAY MCGEE: All right, we're getting picture back. Maybe some kind of tunnel. CUT TO: INT. TUNNEL - DAY (DOOR OPENS) (MUSIC OVER ACTION) CUT TO: INT. MTAC - DAY MCGEE: (V.O.) There! (ON CAMERA) Playing it back. SHEPARD: (READS) T-O-L-L- something. MCGEE: Could be an "I". Maybe a "K." SHEPARD: Toll ... Tollbridge Trading! Women's shoes. (SFX: KEYBOARDING) MCGEE: Twenty-five seventy Third Street Northwest. SHEPARD: (INTO MIC) Jethro, twenty-five -- CUT TO: INT. BACK ROOM - DAY SHEPARD: (V.O./FILTERED) .... seventy Third Street, Northwest. ZIVA: Gibbs. (SFX: ZIVA SLIDES A CABINET) ZIVA: Clear! GIBBS: (INTO MIC) Tony, go! Go! We've got the tunnel. TONY: (V.O./FILTERED) Okay! CUT TO: EXT. ALLEY - DAY TONY: (INTO MIC) Two minutes, Boss.(MUSIC OVER ACTION) CUT TO: INT. LOADING DOCK - DAY CHEN: (IN MANDARIN) Hurry up, we have to go. CUT TO: INT. TUNNEL - DAY (MUSIC OVER ACTION/ZIVA AND GIBBS RUN DOWN THE HALLWAY) MUSICAL BRIDGE TO: INT. LOADING DOCK - DAY LEE: What is this? A warehouse? CUT TO: INT. MTAC - DAY SHEPARD: He's shutting down his operation! CUT TO: INT. TUNNEL - DAY (MUSIC OVER ACTION/ZIVA AND GIBBS RUN UP THE STAIRS) CUT TO: INT. LOADING DOCK - DAY LEE: Where are the girls? CHEN: Put her in the truck along with the others. (SFX: LEE STRUGGLES WITH THE BODYGUARD) TONY: (SHOUTS) Federal agents! GIBBS: Freeze! (SFX: LEE AND THE BODYGUARD FIGHT) (SFX: SHOUTING) TONY: (V.O.) Stay down! GIBBS: Put the w*apon down. TONY: Nice work, Probie. LEE: They're in the truck. (SFX: CONTAINER DOORS OPEN) (SFX: GIRLS VOICES B.G.) CUT TO: INT. MTAC - DAY GIBBS: (V.O./FILTERED) Unbelievable. (SFX: SURPRISED VOICES B.G.) CUT TO: INT. LOADING AREA - DAY (SFX: GIRLS B.G.) CHEN: (IN MANDARIN) The bum tried to be a hero. LEE: The bum tried to be a hero. GIBBS: Brian Wright. Sergeant Brian Wright. Bronze Star. Purple Heart. United States Marine Corps. He was a hero. (MUSIC OVER ACTION/GIRLS WALK FROM THE CONTAINER) (MUSIC UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x08 - Once A Hero"}	foreverdreaming
MUSIC IN: INT. MCGEE'S APARTMENT - NIGHT (MUSIC OVER ACTION/MCGEE TYPING) (SFX: PAPER SHREDDER) (SFX: MCGEE TYPING) (SFX: KNOCKING ON DOOR CONTINUES) JORDAN: (THROUGH PEEPHOLE) Open up, McGee! (DOOR OPENS) MCGEE: Hey, what's going on? JORDAN: Bzzz! MCGEE: Um.... JORDAN: That's what I been hearing all night long. Bzzz! Bzzz! Are you electrocuting sheep in here? MCGEE: Feels like it. You know what? That's probably my shredder. JORDAN: That's funny, because you say that like... well uh, like I haven't been up all night listening to it! MCGEE: I'm sorry. I'm having... it won't happen again. JORDAN: It does - that paper's not going to be the only thing getting shredded around here. MCGEE: Sorry. (DOOR CLOSES) (SFX: PAPER SHREDDER) (KNOCK ON DOOR) MCGEE: I'm sorry. (DOOR OPENS) MCGEE: It was an accident. It won't happen again. SARAH: (SOBBING) I think I klled someone, Tim. (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. LIVING ROOM - NIGHT "TWISTED SISTER" MCGEE: Are you okay?(SFX: SHOWER B.G.) CUT TO: INT. BATHROOM SARAH: (V.O.) You asked me that thirty seconds ago, Mom! CUT TO: INT. LIVING ROOM MCGEE: Yeah, well you've been in there for over an hour! CUT TO: INT. BATHROOM - NIGHT SARAH: (V.O.) Yeah, well how long would you be in the shower if you were covered in mystery blood? CUT TO: INT. LIVING ROOM MCGEE: You're sure that none of it is yours? CUT TO: INT. BATHROOM SARAH: Yeah. MCGEE: (V.O.) But you don't know whose it is? SARAH: No, I told you. CUT TO: INT. LIVING ROOM SARAH: (V.O.) I was at Headliners with these girls from school... CUT TO: INT. BATHROOM SARAH: ... watching this crappy band. CUT TO: INT. LIVING ROOM SARAH: (V.O.) The next thing I know, I'm at your front door. MCGEE: You left out the part where you said .... CUT TO: INT. BATHROOM MCGEE: (V.O.) ....you klled someone. CUT TO: INT. LIVING ROOM (DOOR OPENS) SARAH: Tim, that's not funny! MCGEE: You don't remember saying that? How much did you have to drink? SARAH: Nothing! I'm under twenty-one, remember? MCGEE: Really? Because your fake I.D. says you're twenty-two. How much? SARAH: Okay, I had a few drinks. MCGEE: Sarah, do you remember what happened the last time you had "a few" drinks? SARAH: No. MCGEE: That's the point! You can't drink! Last time you had a few too many, you painted "bitch" on Katie Hutchinson's garage. SARAH: I would have done that sober. That bitch stole my boyfriend. Tim, relax. I barely even touched my second beer, okay? I remember because I had to....(SFX: CELL PHONE RINGS) (INTERCUT FLASHBACK /DISTORTED SWISH PANS) MCGEE: You had to what? SARAH: I had to study. That's right. After the concert, we went to the food court, but I left early because I had to go to the library. MCGEE: Good. Library is good. And then? SARAH: Why can't I remember? MCGEE: Someone could have slipped you something. SARAH: No, Smart Girl One-oh-one. You don't take drinks from guys you don't know. MCGEE: We should still get a urine sample. SARAH: (bat) No! I can't pee in a mug with a picture of Grandma on it. (SFX: TOUCH TONES) SARAH: What are you doing? MCGEE: Calling the police. SARAH: And telling them what? That I showed up at your front door with blood on my hands saying I klled someone? Besides, Tim, that could be animal blood. MCGEE: And what if it's not? Sarah, I'm a Federal agent. I have a responsibility. SARAH: Tim, I didn't come to a Federal agent! I came to my big brother. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY ZIVA: McGee's not answering his cell phone, pager, or MySpace IM. TONY: (CHUCKLES) McGee on MySpace. I've got to see that. GIBBS: Keep calling. TONY: Still trying to get into his calendar, Boss. ZIVA: You know, I'm not sure what the problem is. When I was framed by the Iranians for mrder, I was late for many hours before anyone even noticed. GIBBS: You're not McGee, Ziva. TONY: McTimex's brain is hard-wired for punctuality. And sadly, scaring away potential mates. There we go! No doctors appointments. He does have a personal trainer four times a week! And tomorrow, an eight a.m. appointment at a Harley Davidson dealership!? Either McGee's won the lottery or he's got a Sugar Daddy. (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. Where? (GIBBS HANGS UP PHONE) TONY: dad? GIBBS: Sailor. Waverly campus. Gear up. TONY: What about McGee? We haven't found him yet. SHEPARD: I did. Or rather he found me. Sent me an email. "Woke up sick. Laryngitis. Won't be coming into work today." You know, I bet he sent you one, too. (SFX: COMPUTER BEEP TONES) GIBBS: Are you still here? (TO SHEPARD) Hmm. CUT TO: INT. LIVING ROOM - DAY SARAH: Who emails in sick to work? MCGEE: If I called, they'd know I was lying. SARAH: Oh, and if you have laryngitis, you can't call. You've been saving that one for a comic book convention. MCGEE: Can we get back to the timeline, please? Okay, now, you left the bar at nine-thirty p.m. SARAH: I got to the campus food court at around ten. MCGEE: You showed up here at my door at two thirty a.m. That leaves four hours unaccounted for. SARAH: I'm actually impressed. This is what you do at work? You know, state the obvious and make pretty pie charts? MCGEE: No. We collect facts and we formulate theories. But if you think you can do better... SARAH: Oh. Well, okay. There are four hours unaccounted for, of which I have no memory. So I either drank more than I realized; repressed some kind of traumatic event, or was drugged. Now the blood on my hands and the fact that I'm always careful with what I drink implied traumatic event. But what and where? Answer. The shoes I bought yesterday. Thirty two dollars, on sale, plus I had a back-to-school coupon. They're muddy, but the soles are barely even scuffed. So I didn't walk the five miles to your place. Okay, so how did I get here? When I left the food court, I had fourteen dollars in my back pocket. And now there's only two. And since it's a ten dollar taxi ride to your place, do the math. I must have taken a taxi cab out here. And that's our first step. We find the driver, we ask him where I was. Then when we find out where I was, we can find out what happened. WEAVER: We can start by checking local taxi dispatches. There's two major cab companies and dozens of gypsies. I'm assuming you left from campus, that would definitely be a major. They'll have a log of the fare. Do you think you caught the taxi on campus? MUSICAL BRIDGE TO: EXT. CAMPUS - DAY MADISON: Ready?! Five, six, seven, eight, ht one, two, oh-three, four, look-five, ht six, seven, down-eight. Go-one, two - this isn't the XFL, ladies! This is Waverly! Save the pole-dancing for your boyfriend, Caroline. (SFX: CAR BRAKES TO A STOP) (MCGEE WALKS FROM THE CAR) TATE: Uh, you'll have to move your car, Sir. You're in a passenger loading zone and I don't see any uh, pa - Oh. You don't want to park here. MCGEE: You might want to yank out your rent-a-cop manual and recheck the pecking order. TATE: No, no, no. Your people are on the other side of the quad. CUT TO: EXT. QUAD - DAY TONY: Well, that was quick. GIBBS: You solve this case already, Dinozzo? TONY: No. It's my hundredth body. Hey, listen, you wouldn't mind taking -- (bat) sorry. It's a bad idea. It seemed less disgusting in my head. ZIVA: By comparison with what else is in there, I'm sure it was. GIBBS: Anything useful from that jogger, Ziva? ZIVA: If "I saw the body and I called the police" is useful, then yes. Otherwise, no. He can't tell how long the body's been here. DUCKY: Luckily, of course, I can. I must apologize for our tardiness. We had trouble parking the van. Homecoming. I would have thought McGee would have beaten me up here. GIBBS: McGee's not here. DUCKY: Really? I could have sworn I saw him in the parking lot. TONY: Well, we're at a college. Pencil-neck geeks are a dime a dozen. DUCKY: (CHUCKLES) Now, let me see. Preliminary time of death between ten and twelve hours ago. ZIVA: (V.O.) We have another body! TONY: (V.O.) I thought you said you had another body. ZIVA: I do. Actually, ten of them. (MUSIC OVER ACTION/MCGEE RUNS TO HIS CAR) (MUSIC UP AND OUT) FADE IN: INT. LIVING ROOM - DAY (MCGEE TESTS THE BLOOD) (DOOR OPENS) SARAH: Hey, what time is it? MCGEE: After ten. SARAH: It's after ten?! I missed my class! Why didn't you wake me? MCGEE: I wanted you to get some rest before... SARAH: Before what? MCGEE: Sarah... SARAH: You found the taxi. MCGEE: I haven't spoken to the driver yet, but I did get a log from the company. SARAH: And? MCGEE: And you were picked up early this morning at the quad. When I went to check it out, NCIS was there. SARAH: What was NCIS doing there? MCGEE: Probably had something to do with the dad body. Where are you going? SARAH: The library. I have to study. MCGEE: Excuse me? SARAH: I have a Chaucer mid-term coming up. MCGEE: Hey, Sarah! Hello! dad guy! It's probably dad Guy's blood on your shirt! SARAH: I told you, that could be animal blood! MCGEE: It's not. I tested it, and it's human. Sarah, we've got to go to NCIS. SARAH: Why? Why NCIS? MCGEE: The body was a sailor. CUT TO: EXT. QUAD - FLASHBACK PETTY: (MUFFLED) Sarah! Hey!(FLASHBACK SCENES) CUT TO: INT. LIVING ROOM - DAY SARAH: Do you know the sailor's name? MCGEE: No. SARAH: I do. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY ZIVA: Dental records confirm the body is Seaman Jeff Petty, currently serving on the U.S.S. Enterprise. Docked at Norfolk last night. GIBBS: Navy notifying the family? ZIVA: As we speak. DUCKY: A duty I do not envy. Yes, when I was an officer with the Regiment, I was twice called upon to render such services. I prefer combat to telling a family that one of their loved ones shall never be returning. Luckily, in this case, we are spared such a duty. GIBBS: Do you have a time of death on those goldfish? DUCKY: No time, but a cause. ZIVA: Asphyxiation? Suffocation? Over feeding? DUCKY: Nicotine poisoning. I just got the test results from Abby. There was enough nicotine in their blood to kll, well, kll a goldfish. That much is certain. GIBBS: How did that get there? DUCKY: DUCKY: Your guess is as good as mine. Yeah, the cause of death of Seaman Petty is more explicable. Sharp force trauma to the thoracic area. Punctured the aorta, so death was almost instantaneous. (CONT.) The shape and depth of the wound suggests a combat-- GIBBS: (OVERLAP) Combat Knfe. ZIVA: We didn't find a Knfe. All we bagged was trash. GIBBS: Tell Dinozzo to keep looking. ZIVA: Well, Tony went home. GIBBS: He went home? ZIVA: He wasn't feeling well. Thought McGee might have gotten him sick. GIBBS: So he went... home? ZIVA: Well, actually, the Director told him he could go. DUCKY: I'm not done, Gibbs. GIBBS: Make it fast, Doctor Mallard. DUCKY: Post mortem lividity suggests that Seaman Petty was klled on scene. Tox screen came back negative, no drugs in his system. ZIVA: His C.O. said he was a model sailor. DUCKY: There was very little trauma beyond the entry wound. No scratches, no DNA under fingernails. ZIVA: He was surprised. GIBBS: Or he knew his kller. MUSICAL BRIDGE TO: INT. BATHROOM - DAY (SFX: KNOCK ON DOOR CONTINUES) MCGEE: (V.O.) Sarah, open up! CUT TO: INT. LIVING ROOM - DAY MCGEE: Sarah!(KNOCK ON DOOR) CUT TO: INT. BATHROOM - DAY MCGEE: (V.O.) Tell me how you know this guy! Sarah, I can't help you unless you talk to me.(SFX: SARAH CRIES B.G.) CUT TO: INT. LIVING ROOM (DOOR OPENS) MCGEE: How do you know him? SARAH: We used to date...until he started seeing my old roommate. MCGEE: And? SARAH: And.... I thrat to kll him once or twice. Maybe even three times. MCGEE: This is that sailor that you were dating last year? You told me you didn't like him. SARAH: What did you expect me to say, Tim? I really liked this guy, and he broke my heart when he dumped me for some skanky cheerleader. MCGEE: You thrat to kll him because he dumped you for a cheerleader? SARAH: I didn't mean it! It was just one of those things you say, you know! MCGEE: Did anyone hear you say it? SARAH: I never actually said it. I emailed it. MCGEE: Sarah, we've got to go to Gibbs now. SARAH: I haven't done anything wrong! MCGEE: How do you know? SARAH: Tim, you don't really (LONG bat) you do! MCGEE: Sober, no. But you were drinking, Sarah. There could have been an accident. SARAH: Tim, I swear on my life! I... MCGEE: How can you swear?! You don't remember what happened! SARAH: If my own brother doesn't believe me, who the hell is going to? MCGEE: Sarah! SARAH: What, are you going to arrest me? MCGEE: You need to understand something. Our only option right now is going to end.... (SFX: TELEPHONE BEEP TONES) CUT TO: INT. BENOIT'S APARTMENT - NIGHT (SFX: TV B.G.) TONY: Wait a minute. I thought they were brother and sister. JEANNE: They are, but they don't know it. Haven't you been reading the subtitles? TONY: There's subtitles? JEANNE: So much for being a film buff. TONY: Hey! Listen, I could bore you to death with a lecture on German expressionism in film, if you'd like. JEANNE: You could never bore me. TONY: Well, that is very sweet of you, but you underestimate me. It is my contention, Miss Benoit, that the abstract nature of expressionism in film (MUFFLED) JEANNE: What are we doing, Tony? TONY: Well, I'm boring you with German expressionism in film. JEANNE: We've been dating for over a month. Don't you find it a little curious that... we haven't taken it to the next level? TONY: You mean Italian, you know, realism? Japanese-- JEANNE: No. TONY: ... cinema? JEANNE: ...sex. TONY: (CHUCKLES) Yeah. Sex, right. JEANNE: Yeah, is that something you might be interested in? TONY: (LAUGHS) Yeah. JEANNE: Yeah, I get that vibe from you. And yet we still haven't had it and you don't seem like the type who usually waits. TONY: Yeah. Well, it could be because you remind me of my sister. JEANNE: You said you were an only child. TONY: I am. JEANNE: Could I have a serious answer? Please? TONY: I don't want to rush things. JEANNE: Date two is rushing things, Tony. Date eleven, that's a violation of the Geneva Convention. TONY: "If you always do what you've always done, then you'll always get what you always got." And while what I got had its perks, I'm looking for something different now. JEANNE: Okay, Tony. But just so you know, whenever you're ready, so am I. (MUSIC OVER ACTION/KISSING) CUT TO: INT. AUTOPSY ROOM - NIGHT ABBY: And when we finished bowling, he walked me to my car. SHEPARD: And? ABBY: And he said, "I hope to see you soon, Babydoll." Gave me a peck on the cheek and then he left. SHEPARD: Short and sweet. ABBY: Oh, he is. GIBBS: Hey, I've been looking all over the building for you. SHEPARD: Ah, since we were low on agents, I thought I'd give Abby a hand. GIBBS: The only reason we are low on agents, is because you sent Dinozzo home. SHEPARD: Well, there's no sense in getting us all sick. ABBY: (AS GIBBS) Next time you send one my team home, you clear it with me first, Director! (AS SHEPARD) Oh, I didn't know I needed your permission to manage my own personnel, Agent Gibbs. (AS GIBBS) Your personnel!? (AS SHEPARD) Last time I checked, it said Director on my door, not yours! (AS ABBY) The kids don't like it when Mommy and Daddy fight. GIBBS: Have you got the call log off the cell phone we found on Seaman Petty? ABBY: There was damage on the DC run to the SIM chip. Probably from the fall. (SFX: CELL PHONE CHIMES) ABBY: Okay. Wow, fifteen missed text messages. Someone's really trying to get a hold off-- (PHONE RINGS) ABBY: Oh, no. What do I do? Do I answer it? GIBBS: Put it on speaker. ABBY: (INTO PHONE) Hello!(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MCGEE: (INTO PHONE) Finally! Where the hell are you? (SCENE CUT) GIBBS: (INTO PHONE) McGee? (SCENE CUT) MCGEE: (INTO PHONE) Boss? Why do you have my sister's cell phone? (SCENE CUT) GIBBS: (INTO PHONE) I've got a better question for you. What is your sister's cell phone doing on my dad body? (END TELEPHONE INTERCUTS) (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY (ELEVATOR DINGS/ DOOR OPENS/ CLOSES) TONY: Oh, and I thought being sent to the principal's office was bad... ZIVA: He's still in the elevator? TONY: Per Gibbs' orders, awaiting El Jefe's arrival. (SFX: ZIVA WHISTLES) ZIVA: How mad is he? TONY: Well, considering he's been covering for his sister who is implicated in the death of a Navy sailor... (ELEVATOR DINGS/ DOORS OPEN) GIBBS: What were you thinking, McGee? (ELEVATOR DOORS CLOSE) TONY: I'd say he's handling it pretty well. CUT TO: INT. ELEVATOR - DAY MCGEE: I would apologize, but I know how you feel about that. (SFX: ELEVATOR STOPS) GIBBS: You got your voice back. MCGEE: I never lost it. GIBBS: No kidding! MCGEE: I know withholding evidence is a violation of NCIS policy. GIBBS: And a crime! One that I don't really care about. Why didn't you come to me? MCGEE: I was going to. When I saw the body, I knew I had to bring Sarah in. GIBBS: No! Before that. MCGEE: MCGEE: I couldn't take the chance. I don't know what my sister did or didn't do. But I know what it looked like. (CONT.) And we say "Better ten guilty men go free than one innocent get punished," but I know from experience it doesn't always work out like that. I couldn't take that chance with Sarah, not with the police, not with NCIS, not even with you. (bat) She's my sister. (SFX: ELEVATOR STARTS) GIBBS: Apology accepted. (SIGHS) CUT TO: INT. SQUAD ROOM - DAY (SFX: COMPUTER BEEP TONES) TONY: Cute girl. Hey, this is the one I found on McGee's iPod. I knew there was no way she could be his girlfriend. Poor McGee got the shallow end of the gene pool. ZIVA: They're here.(SFX: ELEVATOR DINGS/ DOORS OPEN/ CLOSE) TONY: I thought for sure Probie would be limping. (TO GIBBS) Getting soft in your old age there, Boss? Prime of your youth, Sir? ZIVA: We needed it for the BOLO. MCGEE: Please tell me that's not for-- TONY: Citing a bench warrant for grand theft auto. MCGEE: Guess that's better than a BOLO for mrder. ZIVA: We need to find her, McGee. Right now, she's our main suspect. MCGEE: Witness. GIBBS: Spoke to the taxi driver who picked your sister up. He places her at the crime scene. TONY: And Abby confirmed the blood type on your sister's clothes matches Seaman Petty. That's more than witness, Probie. ZIVA: And there are the emails. TONY: Like the one that starts "Dear Manwhore, and ends with "If I ever see you again, I will kll you. Love, Sarah?" I got them off Seaman Petty's email. Throw them on the pile and they add up to .... ZIVA: Motive and opportunity. GIBBS: Why is she running? MCGEE: She's mad. She's scared. Says she has nothing to do with the mrder, thinks I don't believe her. ZIVA: Do you? MCGEE: Sarah is not a kller. GIBBS: But...? MCGEE: But an accident's another story. If she was drugged-- ZIVA: She wasn't. Abby ran the urine sample you took, and it was clean. GIBBS: Any other suspects? TONY: Navy Seaman Petty's cheerleader girlfriend. ZIVA: At least your sister's not the only one writing thrat emails. TONY: Cheerleader was worried Popeye was getting his spinach somewhere else. GIBBS: Address? Ziva, I want that taxi impounded. Dinozzo, you're on McGee's sister. TONY: Ah, a great pleasure, Boss. MCGEE: Boss, maybe Tony would be better on the -- GIBBS: McGee? MCGEE: Yeah? GIBBS: Go home. I can't have you working this case. MCGEE: If I go home, how do you know I won't keep working on it? GIBBS: (bat) Come on! (V.O.) I'll keep an eye on you. (MCGEE AND GIBBS WALK O.S.) ZIVA: Hey, are you wondering if she did it? TONY: No, I'm wondering why McGee never told me he had a sister. CUT TO: INT. DORM COMMON AREA - DAY (MUSIC OVER ACTION/CAMERA PANS AROUND COLLEGE STUDENTS) (SFX: VOICES B.G.) CUT TO: INT. DORM ROOM - DAY CAROLYN: This is Jeff in Bahrain. GIBBS: Handsome kid. CAROLYN: He loved wearing that uniform. Almost as much as I loved seeing him in it. He was supposed to meet me at the food court. We were having freshman cheerleader initiations later that night, but I wanted to make time to surprise Jeff with ... a surprise. GIBBS: He never showed. CAROLYN: I just figured his ship was late. CUT TO: INT. DORM COMMON AREA - DAY MADISON: If we can't get this thing working, I'm going to have to find some geeks who can. STUDENT: (V.O.) Don't worry. We can do it. MADISON: Huh! Seen enough? MCGEE: No, no, no. No, actually, um... I was checking the water gn here. The check valve is on backwards. If you flip this... GIBBS: (V.O.) It sounds like you and Jeff had a perfect... CUT TO: INT. DORM ROOM - DAY GIBBS: ... relationship. CAROLYN: We did. We were going to get married. You better make her pay for this. GIBBS: Who? CAROLYN: That jealous bitch, Sarah McGee. She couldn't deal with the fact that Jeff wanted me instead of her. She sent him thrat emails. She trashed me in her blog. GIBBS: Blog? CAROLYN: Yeah. GIBBS: What's a blog? CAROLYN: It's a ... blog, you know. GIBBS: No, I don't know. CAROLYN: It's something losers put online so that everyone can read. Are you going to arrest her or not? I saw her at the food court with her geek friends. When she found out that Jeff was coming to meet me, she left to find him. MCGEE: How do you know she didn't just leave?! CAROLYN: Because she klled him! MCGEE: Boss... GIBBS: Hey! CUT TO: INT. HALLWAY GIBBS: I told you to wait outside. MCGEE: Why didn't you ask her about the emails? GIBBS: Maybe I don't want her to know that I know about the emails, McGee. There's a reason I told you to stay outside. MCGEE: And there's a reason that I came in. Look. CUT TO: INT. SHEPARD'S OFFICE - DAY (DOOR OPENS) SHEPARD: Come on in. (DOOR CLOSES) SHEPARD: I take it this isn't a social call. TONY: I need some advice. SHEPARD: And you came to me? TONY: Well, it was either you or Gibbs, and his track record with women sucks. So... (bat) I'm finding um... myself in a particularly odd situation with... someone... special. SHEPARD: Odd? TONY: Odd, yeah. Odd. Because we've been going out for over a month and w-we haven't done something that I usually do uh, you know, a lot ... a lot earlier than that. SHEPARD: And may I ask what it is that's holding you back from doing what you usually do? TONY: Yeah. Um... because of the particular importance of this person, I thought it would be a good idea to take things slowly, which is kind of a new concept for me. But at a certain point things have to speed up. R-Right? SHEPARD: Are you attracted to her? TONY: Oh, yeah. Yeah. I could make a meal. SHEPARD: Is she attracted to you? (bat) So what's the problem?(TONY NODS HIS HEAD) (SFX: CELL PHONE RINGS) TONY: (INTO PHONE) Dinozzo.(BEGIN TELEPHONE INTERCUTS) ZIVA: (INTO PHONE) BOLO just came back on McGee's sister. Campus security has her. (SCENE CUT) TONY: (INTO PHONE) Well, let Gibbs know. He's there with McGee. (SCENE CUT) ZIVA: (INTO PHONE) I did. He wants us to bring her in. TONY: (V.O./FILTERED) Okay, I'll be right down. (SCENE CUT) (END TELEPHONE INTERCUTS) SHEPARD: Good luck. MUSICAL BRIDGE TO: INT. LIBRARY STACKS - DAY TATE: I'm Security Officer Tate. One of the librarians reported her. Apparently she sleeps here a lot. ZIVA: Ah, how McGee-ish of her. TONY: Must be in the McGeenome. TATE: You want her for more than GTA, don't you? (bat) I didn't have the authority to arrest her, but if you want me to, you know -- ZIVA: We'll take it from here. (TONY AND ZIVA WALK TO SARA AT THE DESK) (SFX: TONY CLEARS HIS THROAT) SARAH: No, you can't have my number. TONY: I already have your number, Sarah. SARAH: It's not what you guys think. My eyes water when I read a lot and these lights are really crappy. Are you guys here to arrest me? TONY: No. ZIVA: You do have to come with us, though. SARAH: Yeah, sure. Are you guys just being nice to me 'cause Tim's my big brother? TONY: No, I'm always nice to hot girls. SARAH: You must be Tommy. TONY: Tony. SARAH: Sorry, in Tim's book you're Tommy. Which would make you Lisa. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY (SFX: VOICES B.G.) MCGEE: Where have you been?! SARAH: The library. I told you I had to study. You know, Tony is much cuter than Tommy. MCGEE: Tommy? TONY: Hmm. You know, if you rearrange these letters, you get... ZIVA: Timothy McGee! SARAH: You should have told me this was a secret! TONY: I can't wait to read about your swashbuckling, socially repugnant Special Agent Tommy. ZIVA: (GIGGLES) And Lisa, the sultry and emotionally distant Mossad Officer. TONY: Or their boss, L.J. Tibbs, who (READS) "drinks to alleviate the burden of his Messianic complex." Where is L.J., dad Agent Walking? MCGEE: Evidence garage. (SFX: TONY CHUCKLES) MCGEE: Tony! Tony! (TO SARAH) I'm going to kll you! CUT TO: INT. EVIDENCE GARAGE - DAY GIBBS: Where'd you find it, Abs? ABBY: Stuffed behind the seat cushion. (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) TONY: Hey, Boss? CUT TO: INT. TAXI - FLASHBACK VOICE: (V.O./MUFFLED) Are you okay? PETTY: (V.O./MUFFLED) Sarah! Hey, no! CUT TO: INT. EVIDENCE GARAGE - DAY MCGEE: You didn't find that in the taxi, did you? (MUSIC UP AND OUT) FADE IN: INT. OBSERVATION ROOM ZIVA: (V.O.) Who studies while they wait to be interrogated for mrder? TONY: A McGeek. (READS) "Lisa's eyes reminded him of emeralds." ZIVA: Oh. TONY: (READS) "Flawed only by the icicles in her heart." ZIVA: He's dad. (READS) "And the field Agent Tommy is a dogged pursuer of dirt bags!" TONY: Yeah. (ZIVA CHUCKLES) ZIVA: And any skirt over the age of eighteen. TONY: (TO SARAH) Your brother's dad. SHEPARD: (V.O.) Sarah thrat to kll Seaman Petty by email. CUT TO: INT. AUTOPSY ROOM - DAY SHEPARD: A taxi picked her up near the crime scene at the time of the mrder. The blood on her clothes matches the victim's and her fingerprints are on the mrder wapon. Other than being your sister, is there any evidentiary reason why she shouldn't be charged? MCGEE: But she is my sister, Director. Sarah may have a temper, but she lashes out with her mouth or a pen, not a Knfe. SHEPARD: And I hope you have more to offer than brotherly love, Agent McGee. MCGEE: She was drugged. She showed up at my door groggy, barely able to walk. She couldn't remember anything except leaving the food court. SHEPARD: The lab reports for drugs and alcohol were negative. MCGEE: Well, by the time those tests were taken, whatever was in her system had metabolized. SHEPARD: And if that's true, whose fault is that? MCGEE: Mine. I should have taken Sarah in. SHEPARD: (OVERLAP) But you didn't bring her in! Agent DiNozzo and Officer David did, so your actions - or should I say inactions - did nothing to help your sister. But it did impugn the integrity of this agency! MCGEE: Forgive me, Director, for not putting the integrity of NCIS before my sister! It won't happen again. (MCGEE WALKS TO THE DOOR) (DOOR OPENS/ CLOSES) (DOOR OPENS) CUT TO: INT. SQUAD ROOM - DAY GIBBS: McGee! Hey! MCGEE: Boss, don't try and talk me out of this. GIBBS: Never let someone manipulate you like that again. Not even the Director! MCGEE: She wanted me to quit? GIBBS: It's her job to protect NCIS. Come here. Sit down. MCGEE: Boss, you don't think that-- GIBBS: You sit out here until I get back! MCGEE: Boss, you don't think Sarah did it, do you? GIBBS: I don't know, McGee. I'll know after I interrogate her. MCGEE: Can I watch from-- GIBBS: No! MCGEE: Please, from observation!? GIBBS: (OVERLAP) No! MCGEE: Boss, I can't just sit here. GIBBS: Here. Read a book. CUT TO: INT. INTERROGATION ROOM (DOOR OPENS/ CLOSES) GIBBS: What's your major? SARAH: English Lit. GIBBS: You intend to be a writer like your brother? SARAH: I intend on being a writer. GIBBS: Why the smartass answer? SARAH: What?! GIBBS: You put your brother down. SARAH: No, I didn't. GIBBS: Yeah, you did. He just resigned because of you. SARAH: No! But Tim loves NCIS. GIBBS: Evidently he loves you more. (SFX: SARAH CRIES) SARAH: I'm sorry. GIBBS: Fake tears don't bother me. SARAH: I don't fake tears! GIBBS: Just lapses in memory. SARAH: I don't remember! (LONG bat) I just get... quick film cuts. GIBBS: Hold onto them. SARAH: I can't. GIBBS: Because you don't want to. SARAH: I do. GIBBS: If you did, you'd remember. SARAH: And how would you know? GIBBS: I've been there. MUSICAL BRIDGE TO: INT. CAFETERIA/CAMPUS - FLASHBACK PETTY: (MUFFLED) Sarah, stop it! Stop it! What are you doing? What are you doing? SARAH: (MUFFLED) No! No! No! CUT TO: INT. INTERROGATION ROOM SARAH: I sab him. (CRYING) I sab Jeff! CUT TO: INT. SQUAD ROOM - DAY ABBY: What's your sister's favorite pizza? MCGEE: What? ABBY: Her favorite pizza! Come on, Tim. It's not a trick question. MCGEE: Uh... cheeseless with pickles, Tabasco and peanut butter. ABBY: (SHOUTS) Yes! Yes! Yes! MCGEE: Yes? ABBY: Your sister was doped. Where's Gibbs? Where is everybody? MCGEE: Interrogation. ABBY: Well go get him and bring him down to my lab. And there's more! CUT TO: INT. OBSERVATION ROOM (SFX: SARAH CRIES B.G.) (DOOR OPENS/ CLOSES) MCGEE: Abby's got great news. It's not great, it's actually terrible, but it explains why Sarah can't - what did Gibbs do to my sister?(SFX: SARAH CRIES B.G.) TONY: Nothing. She admitted sab Seaman Petty. (DOOR OPENS) CUT TO: INT. INTERROGATION ROOM (DOOR OPENS) MCGEE: Sarah doesn't know what she's saying. GIBBS: McGee. MCGEE: Boss, she was drugged. Abby has proof. GIBBS: Stay with her. (DOOR CLOSES) MCGEE: Hey. Hey. SARAH: (CRYING) I remember the Knfe. I remember Jeff lying there. MCGEE: Oh, no, no, no, no. My little sister could never kll anyone. CUT TO: INT. ABBY'S LAB - DAY ABBY: I was pouring over all the forensic evidence. The trash from the crime scene, and every inch of the taxi, and I realized that the floor mat smells like Nilosorb. TONY: Nilosorb?(SFX: TONY COUGHS) GIBBS: Industrial vomit cleaner. ABBY: So I took what was left down there. I ran it through the mass spec, and found what McGee has confirmed to be Sarah's favorite late night snack. Cheeseless pizza with Tabasco, pickles, and peanut butter. ZIVA: Yuck! ABBY: But I also found traces of sodium oxybate - a.k.a. GHB. It didn't show up in her urine sample because it metabolizes so quickly. Which is probably what makes it such a popular date-rpe drug. TONY: You think Seaman Petty tried to rpe her? ZIVA: Her ex-boyfriend? TONY: There's nothing like a death thrat from an ex-girlfriend to get your dander up. ZIVA: Are you talking from experience, Tony? ABBY: So the levels of GHB allowed me to triangulate a window of exposure. She was dosed at the food court. GIBBS: Dinozzo. TONY: Pull the security tapes from the food court. On it, Boss! (TONY WALKS O.S.) GIBBS: Ziva! ZIVA: Names of food workers, janitors, and anyone working that night. (ZIVA WALKS O.S.) GIBBS: What was I going to tell you? ABBY: I don't know. What were you going to tell me, Il Magnifico? (SFX: KISS) GIBBS: Good job. ABBY: But I have more! I solved the mystery of the smoking goldfish. At first I couldn't figure out how they were lighting the cigarettes underwater. And then I found this. They were trying to kick the habit. Our little Nemos were swimming in a bag that sprung a leak. Sprang a leak. Sprung, sprang, sprung - so their little lives flashed before their eyes in a nicotine buzz. Hey, do you think since goldfish only have three seconds of memory-- GIBBS: Abby, get Ducky on that. ABBY: I don't know, Gibbs. That is a very complicated piece of equipment. Probably have to go get the manual out, and-- GIBBS: Abs! ABBY: Ducky? DUCKY: (ON MONITOR) Yes, my little lotus blossom. ABBY: Gibbs wants you! GIBBS: You know when the goldfish died? DUCKY: (ON MONITOR) Well, I was just determining the time they expired. ABBY: Are you using a little teeny tiny liver probe? DUCKY: (ON MONITOR) Being cold-blooded, temperature is useless in determining the time of death. GIBBS: So you don't know? DUCKY: (ON MONITOR) Au contraire. They died about the same time as our victim. ABBY: Now how did you calculate that? CUT TO: INT. SQUAD ROOM - DAY GIBBS: Track Sarah McGee from the time she enters until she leaves. TONY: Uh... okay. Uh... oops. Uh... that was the wrong way. I'm sorry. Sorry, Boss. One second.(SFX: KEYBOARDING B.G.) GIBBS: Dinozzo. (SFX: KEYBOARDING/ BEEP TONES B.G.) (ZIVA GIGGLES) TONY: It froze. This is sort of a McGeek thing. (SFX: KEYBOARDING) GIBBS: Get him! (TONY RUNS O.S.) GIBBS: Do you know what a clog is? ZIVA: A shoe or a block to drain? GIBBS: On the Internet. ZIVA: I thought that was a blog, but my English is often wrong. GIBBS: Sarah McGee wrote a blog trashing her and the cheerleaders. You think you can find it? ZIVA: Probably on MySpace. Who is she? GIBBS: Seaman Petty's girlfriend. Sarah's ex-roommate. (SFX: KEYBOARDING) ZIVA: Ha! (READS) "These preppy little girls, all skanked up to the nines in their adorable cheerleading uniforms, which had been mistakenly ordered in children's sizes, were engaged in strangely hm, Adderol-fueled spastic movements that they called dance routines." TONY: Where's that from? SARAH: It's my blog. TONY: Ha ha. You should let your sister ghost-write for you, Probie. GIBBS: Find your sister entering the food court. How do you get a ready-made cheeseless pizza with Tabasco sauce, pickles, and peanut butter? SARAH: Oh, I make it myself. The food court has everything but peanut butter, so I carry a jar in my backpack. GIBBS: McGee, isolate her table. MADISON: (V.O.) Ready?! MUSICAL BRIDGE TO: EXT. QUAD AREA - DAY MADISON: One, two, down, up! Steady! Hold it, Heather! Oh, take five! CAROLYN: Whatever happened to quitting? MADISON: After football season. Why don't you go home? CAROLYN: I'd rather be here. MADISON: Seen enough of my ass? MCGEE: What do you think, Tony? TONY: I don't know. There's a lot to see. MADISON: (GASPS) Stay the hell away from me, jerk! TONY: It's amazing what a college education does for a girl's vocabulary, don't you think? MCGEE: Astonishing. I believe you know my sister. (SFX: SLAP) SARAH: That was for spiking my peanut butter! (SFX: SLAP) SARAH: And that was for setting me up to be rped. TONY: This is for being an accessory to mrder. MADISON: What?! CAROLYN: Madison! MADISON: They're framing me! I didn't do anything! MCGEE: We've got you starring in the Food Court Show. TONY: Spiking Sarah's peanut butter with GHB. MADISON: Oh, yeah. Try and prove that from a security camera! SARAH: Your greasy paw prints are all over my peanut butter jar. MCGEE: And we have you leaving the food court with Officer Tate. CAROLYN: You mrder Jeff? MADISON: (SHOUTS) No! I was just using Tate to get even for this bitch's blog, and Jeff saw Tate grappling with her and tried to play hero. CUT TO: EXT. CAMPUS - FLASHBACK SARAH: (MUFFLED/ECHO F/X) Get off! PETTY: (MUFFLED/ECHO F/X) Let go of her!(PETTY MOANS B.G.) CUT TO: EXT. QUAD - DAY MADISON: Tate sab him. I dropped everything and ran! TATE: You sab him! Put the Kn*fe in her hand, put the cell phone in his pocket. MADISON: You lying bastard! TATE: Lying bitch! GIBBS: Get them out of here. TATE: I didn't do anything! TONY: (OVERLAP/V.O.) You have the right to remain silent. You have the right to do splits.(TONY/TATE AND MADISON WALK O.S.) MADISON: (V.O.) Let go of me! I didn't do anything! TATE: (V.O.) Yes, you did! Madison did it! MADISON: (V.O.) Oh, shut up! SARAH: I'm sorry. Jeff was a great guy, and he really loved you. CAROLYN: How would you know? SARAH: He emailed me. He said he was sorry, but he'd met his soul mate. It was you. (SFX: CAROLYN CRIES B.G.) GIBBS: Sometimes, McGee.... a little lie - it's good for the soul. (MUSIC UP AND OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x09 - Twisted Sister"}	foreverdreaming
FADE IN: INT. FURNACE ROOM - DAY LARSON: (V.O.) Check that I-bolt. Let's hook that come-a-long. All right, get ready ladies. Put your backs into it. Come on, I could do this when I was your age by myself, huh!? VOICE: Sure you could. LARSON: See these pythons? I could lift a four hundred pound load back in the day, huh? RICK SAMSON: I even remember her name, Lisa Scarpizzi. LARSON: But she was a hell of a woman, now, huh? All right! Let's get this thing out of here! I've got a furnace waiting to go in. Push it out, guys! Come on, here we go. Hold on! Hold on! Hold on! (INTO RADIO) Hey Mannie? MANNIE: (V.O./FILTERED) Yeah. LARSON: Looks like a partial obstruction in the smoke stack. MANNIE: (V.O./FILTERED) Yeah, I can see it from up here, Boss. Probably carbon build up. LARSON: All right, clean it out. MANNIE: Do it right now. (SFX: LARSON WHISTLES) LARSON: Anybody who doesn't want to make an ash of himself, step back! (SFX: MOTOR B.G.) (VOICES: "Whoa! Whoa! Whoa!") LARSON: (INTO RADIO) Hold it up, Mannie! We've got more than just carbon coming down here. MANNIE: (V.O./FILTERED) Copy that. (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "SMOKED" TONY: Finished McGee's book yet? ZIVA: Half way. You? TONY: I'm on... chapter seven, page one oh three. (READS) "Maybe someday Lisa would find the courage to tell Agent Tommy about her dream - the two of them together, their bodies covered in sweat as they made love on the crystal white sands of her homeland. ZIVA: I'm going to kll him. GIBBS: kll who? ZIVA: McGee. Have you read this book? TONY: Apparently McGee thinks Ziva's in love with me. GIBBS: There's a reason they call it fiction, Dinozzo. MCGEE: Boss, just got a call from dispatch. Construction crew found a dad body. GIBBS: Where? MCGEE: Chesty Puller High School in Quantico. GIBBS: Student? MCGEE: Uh... not sure. GIBBS: Take the truck. I'll meet you there. (GIBBS WALKS O.S.) MCGEE: How many times do I have to tell you? It's not about you guys.(MUSIC OUT) ZIVA: I'm driving. CUT TO: INT. VAN - DAY TONY: Comfortable back there, Gore Vidal? MCGEE: For the last time, Deep Six is fiction! ZIVA: Fiction based on us, yes? MCGEE: No! Look, if you don't believe me, read the disclaimer in the front of the book. TONY: Are you buying that... Lisa? (ZIVA CHUCKLES) TONY: Didn't think so. Nice knowing you, Probie. MCGEE: Ziva? (SFX: CAR TIRES SCREECH) (SFX: MCGEE FALLS BACKWARDS IN THE VAN) MCGEE: (SHOUTS V.O.) Ziva! It's just a book! CUT TO: INT. BASEMENT - DAY (SFX: FLASH) TONY: You know, in chapter eight of McGee's book, your character does the exact same thing to Agent Tommy. It turns out she has this whole secret photo album of him. ZIVA: Fascinating, Tony, but I wasn't taking a picture of you. I'm more interested in the wild life. TONY: Euugh! LARSON: We've pulled rats, cats, and birds out of chimneys before, Agent Gibbs. Hell, one time even a Saint Bernard. But this is my first mummy. Reminds me of that urban legend. GIBBS: Which one's that? LARSON: Guy dresses up like Santa, you know, for Christmas Eve to surprise his girlfriend. But he never shows. She's convinced that the bastard dumped her. Badmouths him all over town. DUCKY: Until they find the poor soul's body months later... still clutching the little box with her shiny new engagement ring. And the moral, of course, is... GIBBS: It's never a good idea to get married. DUCKY: No, it's best not to judge someone until all the facts are in. GIBBS: I like mine better. Any of your crew touch or move Kris Kringle? LARSON: Oh, most of them were half way to Manassas before the dust even settled. TONY: There's no I.D. on him. Judging by what's left of the mullet, I think it's safe to say he wasn't in the military. GIBBS: You think, Dinozzo? (TO DUCKY) Hey, I need a T.O.D., Doctor. DUCKY: Considering we've been working together for over ten years, I am well-aware of that, Agent Gibbs! GIBBS: Dinozzo, when he gets one, run it through missing persons over the same time period. TONY: Where are you going, Boss? GIBBS: To the roof to figure out how he ended up there in the first place. (TO MCGEE) What happened to you? MCGEE: Uh... creative differences with my co-workers, Boss. GIBBS: A lot of that going around these days. (GIBBS WALKS O.S.) ZIVA: Don't you think it's about time you and Gibbs made up, Ducky? DUCKY: Made up? I wasn't aware we were fighting, Ziva. TONY: Come on, ever since he retired-- DUCKY: Gibbs didn't retire, he quit! TONY: Okay, so he quit. But he's back now. ZIVA: You need to cut the man some slack, Ducky. TONY: I agree. Except the term is slack. DUCKY: Judging by the decay and the condition of his skin, I tentatively place the time of death at two to four months ago. TONY: Works for me. (SHOUTS) Time of death was two to four months ago, Boss! (TO MCGEE) Bag and tag the ashes, Probie. We'll pick you up after we coordinate with the MPs. JIMMY: (V.O.) Doctor, I'm going to be laying the bag out here and ... the burrito over here. MCGEE: Palmer, I need a favor. JIMMY: You want a ride back with us. MCGEE: How'd you know? JIMMY: I read your book. And for your information, I've never had sexual relations with a corpse. MCGEE: That character was not based on you. JIMMY: His name was Pimmy Jalmer, McGee! MCGEE: Well, he's French Polynesian. JIMMY: Doctor, I'm going to get the gurney now. MCGEE: It was only a dream! Come on, haven't you ever heard of symbolism? DUCKY: The life of an artist is never easy, McGee. They'll all get over it eventually. MCGEE: (SIGHS) Thanks, Ducky. DUCKY: By the way, do you know if Tony has finished it yet? MCGEE: Not yet. DUCKY: Well, him I'd watch out for. CUT TO: INT. SQUAD ROOM - DAY ZIVA: None of the local missing person reports match our John Doe's description, Tony. And there's no record of anyone going missing on base, civilian or military during that period. Are you even listening to me? TONY: I'm getting close to the end, Ziva. You know, McGee is really starting to nail your essence here. (READS) "Stakeouts. Long endless hours fueled by cheap food and even cheaper coffee. But tonight, Mossad Officer Lisa didn't seem to mind because she was getting to spend it with Agent Tom..." - you're behind me again, aren't you? ZIVA: Lucky guess. You know, I think McGee's right. TONY: He was, was he? ZIVA: It takes almost all of my willpower to resist the urges I have when I'm around you, Tony. Maybe it's about time to just give in, yes? TONY: And by "give in," you mean... ZIVA: Letting loose. TONY: Ah. ZIVA: Doing what comes naturally to me. TONY: Yeah, I thought I was picking up that vibe the first time we went undercover together. ZIVA: You were? TONY: Uh-huh. ZIVA: In fact, I almost did it the first night in the hotel room. TONY: Hmm. Really. ZIVA: But my father wouldn't approve. TONY: Because I'm not Jewish? ZIVA: Because he gets very angry when I kll my co-worker. TONY: (LAUGHS) Like I believed you for even a second! ZIVA: (LAUGHS) I'm sure you didn't. GIBBS: Are you two done playing grab-ass? ZIVA: Oh, he started it. GIBBS: I'm ending it. TONY: Oh, I-- GIBBS: The next person who mentions this book will be deep-sixed by me. TONY: I can completely live with that, Boss. GIBBS: My point exactly, Dinozzo. You ID our victim yet? ZIVA: We're running him against missing person cases reported over the last six months, Gibbs. TONY: No hits yet. DUCKY: I'm afraid that's my fault. It seems my initial time of death wasn't completely accurate. CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: As you will see, his body is almost perfectly preserved. Perfectly reserved for a rotted corpse, that is. TONY: The guy looks like a piece of beef jerky, Duck. DUCKY: Gum tissue rots faster than the outer flesh due to the high degree of bacteria inside the mouth. As you can see, his gums are almost intact. TONY: Maybe he was just a good flosser? Shutting it, Boss. GIBBS: How'd he die? DUCKY: Well, the how I'm still working on. It's made particularly difficult by the means by which his body was preserved. He was quite literally smoked inside that chimney. ZIVA: Smoked? DUCKY: Yeah, like a fine cut of meat. TONY: So he really is a beef jerky. DUCKY: In a manner of speaking, yes, Tony. It's also the reason why my time of death was so far off. ZIVA: More than two to four months, Ducky? DUCKY: (CHUCKLES) It would seem so. GIBBS: How many? DUCKY: I would say we're looking at closer to five or six. GIBBS: Ah, don't be so rough on yourself, Doctor. We're already running the past six months. DUCKY: Not months! Years! CUT TO: INT. ABBY'S LAB MCGEE: (V.O.) Abby, they hate me. ABBY: They don't hate you, McGee. MCGEE: Ziva tried to kll me yesterday. ABBY: Well, you did base all the characters in your book on us and didn't ask our permission. MCGEE: Deep Six is a work of pure fiction. ABBY: You described everything in my bedroom. MCGEE: Not everything. You still have those. ABBY: Fantasize later, Hemingway! I got a match on two of old Smokey's fingerprints. (SFX: COMPUTER BEEP TONES) ABBY: Whoa! MCGEE: What's wrong? ABBY: The match file is restricted. I can't access it. MCGEE: That's not possible. NCIS has top-level clearance. ABBY: Duh, McGee. I work here, too. MCGEE: Can you tell who's blocking it? ABBY: I could. If they weren't in the process of deleting the file from the server. MCGEE: What the hell is this? GIBBS: I was wondering that myself. ABBY: We've got two matching fingerprints from the victim, and AFIS just kicked us out. And now they're deleting the file! GIBBS: How? MCGEE: Working on it, Boss. ABBY: It looks like some agency doesn't want us to know who the mummy is, Gibbs. (MUSIC OUT) MUSIC IN: INT. MTAC - DAY SHEPARD: (V.O.) Inbound G-Five from Ibiza, Spain. Tango-Eight, I want every (ON CAMERA) bag coming off that plane tagged with a GPS marker. Eagle-Six, remain in over-watch. Tango-Eight is on his own, unless I clear you for back up. EAGLE SIX: (V.O./FILTERED) Solid copy. Eagle Six, remaining in over-watch position. (INTERCUT SCENE OF PLANE LANDING) SHEPARD: Bring up Tango-Eight's feed on the big screen. CUT TO: EXT. TARMAC - DAY (DOOR OPENS) TONY: Hey, there! How you all doing? Toss them down, bro'! Oooh! CUT TO: INT. MTAC - DAY TONY: (V.O./FILTERED) Louis Vitton. CUT TO: EXT. TARMAC - DAY TONY: Y'all aren't too friendly, are you? (TONY JOGS TO THE LIMOSINE) CUT TO: INT. MTAC - DAY EAGLE SIX: (V.O./FILTERED) This is Eagle Six. Cabin crew are exiting. SHEPARD: Tango-Eight, La Grenouille's people are about to deplane. CUT TO: EXT. TARMAC - DAY (MUSIC OVER ACTION) (SFX: KORT CLEARS HIS THROAT) CUT TO: INT. MTAC - DAY KORT: (ON MONITOR) Miss Burrow is for me, dear boy. There's more luggage. CUT TO: EXT. TARMAC - DAY TONY: Yes, Sir. (MUSIC OVER ACTION/TONY RUNS TO THE PLANE) KORT: Good flight? WOMAN: Very nice, Kort. Very nice. KORT: Bellison, where's he been keeping you? BELLISON: The African market. Cape Town, mostly. Not bad. KORT: Good. CUT TO: INT. MTAC - DAY SHEPARD: I need to see the passengers. (INTERCUT SCENE OF PASSENGERS) SHEPARD: Isolate and freeze frame.(MUSIC OVER ACTION) CUT TO: EXT. TARMAC - DAY KORT: How long have you been here? TONY: Well, long enough to put your luggage in the trunk. KORT: How long have you been working the line? I haven't seen you before? TONY: Oh, about five months, I'd say, you know. Part time, weekends, nights... that sort of thing. KORT: Can you keep your eyes off her next time? TONY: Probably not. CUT TO: INT. MTAC - DAY KORT: (ON MONITOR) An honest man. CUT TO: EXT. TARMAC - DAY TONY: Thank you, Sir! MUSICAL BRIDGE TO: INT. MTAC - DAY SHEPARD: Eagle-Six, confirm four GPS markers. EAGLE SIX: (V.O./FILTERED) Eagle-Six, four GPS markers confirmed. Signals are long and strong. SHEPARD: Bravo zulu, Tango Eight. CUT TO: EXT. TARMAC - DAY TONY: Two hours. Gibbs is going to mrder me. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY GIBBS: How long's Tony been doing errands for the Director? ZIVA: Pretty much since you retired. She trusts him. GIBBS: To do what? ZIVA: You'd have to ask Tony that. ABBY: Gibbs! Gibbs! Gibbs! I did it! MCGEE: What? You mean we! ABBY: There's no "we" in McGee! I traced the connection back to the system that deleted the fingerprint patch. MCGEE: It's a government server in Arlington, Virginia. ABBY: Routed into AFIS, directly at the source. MCGEE: Our mystery hacker is... GIBBS: The F.B.I. ABBY: Uh... yeah. Sounds a little anti-climactic when you say it. MCGEE: How did you know that? GIBBS: I'm looking at them. FORNELL: You've got something that belongs to me, Gibbs. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY DUCKY: Petri dish, Mister Palmer. There's something weird in this young man's stomach. JIMMY: Is that... is that what I think it is? DUCKY: A distal inter-phalangeal joint. (SFX: DOORS SLIDE OPEN) DUCKY: A human toe. FORNELL: He was a cannibal, Ducky. SACKS: And a serial kller. FORNELL: I've been hunting this bastard for twelve years, Gibbs. GIBBS: What's his name? (bat) You don't know. SACKS: We know the prints you ran through AFIS matched two of the prints from his crime scenes. FORNELL: Fourteen kills. All women. Drugged, strangled and left to rot in your rural interstate highways. SACKS: Every one of them missing the toes on their left foot. They were gnawed off. FORNELL: How'd he die? DUCKY: We were still working on that. FORNELL: I can tell you when. Sixty-six months ago. DUCKY: Five and a half years is a pretty accurate guess. FORNELL: It wasn't a guess. It was the last time he klled. (GIBBS AND FORNELL WALK TO THE DOOR) FORNELL: You want to know why I restricted access to his prints? GIBBS: For starters. FORNELL: We didn't want local LEOs trying to bring him down on their own. GIBBS: That sounds like the F.B.I. FORNELL: This guy was a ghost, Jethro. Fourteen mrder. All we ever got from him was two partials, and a single strand of hair. We never even got close. GIBBS: I am more interested in what he was doing on my Marine base, Tobias. FORNELL: As soon as I find out, you'll be the first to know. We got a deal? I'll have my M.E. swing by and pick up the body. GIBBS: After I find out who he is and how he died. FORNELL: I spent twelve years working on this case. GIBBS: Well, then waiting a few extra days shouldn't be a problem. FORNELL: Is there anything else I can do for you, while you're grinding the Knfe in? GIBBS: I'm going to need a sample of hair, and copies of your file. A few bottles of bourbon would be a nice gesture. FORNELL: What do I get besides a headache? GIBBS: Tobias, I am going to show you what your serial kller looks like. CUT TO: INT. ABBY'S LAB ABBY: I've been rehydrating Smokey-the-Bear's head since yesterday. It makes it easier for identification. MCGEE: And I've uploaded every local missing person's sketch and photo into the comparison field since the klling stopped. ABBY: As soon as their rendering algorithm is complete, we should have a fairly accurate likeness of what Slim Jim looked like when he was still alive. MCGEE: As long as the quadrant system and scales are within the program's prescribed.... GIBBS: McGee, less talk. More the computer chip doo-da. MCGEE: Making with the Doo-da, Boss. FORNELL: Doo-da? GIBBS: Yeah, it's a technical term, Tobias. You wouldn't understand. ABBY: He's pretty cute for a serial-klling cannibal. MCGEE: Oh, I've got an eighty-six percent match on a Charles Bright, reported missing from Dale City, five years, seven months ago. FORNELL: Our profiler was convinced he'd have at least one body buried near his home. ABBY: Why? GIBBS: Something for him to gloat over, Abs. Relive the rush any time he wanted to. FORNELL: That's good, Gibbs. We need an address. (SFX: ABBY AND MCGEE HUM/ SING: "Doo-da") GIBBS: Is that address still good? MCGEE: Uh, wife still lives there. Karen Bright. She's the one who reported him missing. GIBBS: There you go, Fornell. FORNELL: You're turning the case over? GIBBS: No, I just want you to get my search warrant for me. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) (SFX: SACKS GIGGLES) SACKS: (INTO PHONE) I do miss you. I do. Stop! Oh... oh... oh... TONY: What's wrong with this picture? ZIVA: Besides being late over two hours? TONY: Why is the spawn of the F.B.I. sitting at my desk? LEE: Warrant just came in via the F.B.I. I made sure NCIS was a co-server. TONY: Warrant for what, Lee? LEE: The serial kller's home. It covers the grounds and residence. TONY: Serial kller? I only missed like two hours. GIBBS: You snooze, you lose, Dinozzo. (V.O.) Grab your gear! TONY: I already have my gear! ZIVA: I'll fill you in on the way. Let's go. GIBBS: (V.O.) Today, Dinozzo! LEE: Geez! CUT TO: EXT. HOUSE - DAY FORNELL: What do we tell her? GIBBS: The truth. We found her husband. FORNELL: And the whole serial klling/cannibalism thing? (KNOCK ON DOOR) GIBBS: Not until we have to. (DOOR OPENS) FORNELL: Hi. Is your mom home? KAREN: (V.O.) Who is it, Amy? AMY: It's the police, Mom. FORNELL: Mrs. Bright, I'm.... GIBBS: (LONG bat) He's F.B.I. Agent Fornell. I'm NCIS Special Agent Gibbs. KAREN: You... you found him, didn't you? You found my husband Charlie? GIBBS: His body was discovered yesterday in Quantico. KAREN: It was an accident, wasn't it? He was a building inspector. GIBBS: The cause of death is still undetermined. KAREN: He would have never abandoned us. Everyone else thought it, but I always knew it couldn't be true. (TO KIDS) They found Daddy. They finally found him. (SFX: KAREN CRIES B.G.) CUT TO: EXT. BACK YARD - DAY FORNELL: Sorry about that, Jethro. She could have been a twin to some of his victims. GIBBS: The loving husband mrder and eating women who look like his wife. It'll probably be McGee's next best seller. FORNELL: It amazes me how the truly sick ones are always the best liked, the pillars of the community. GIBBS: They're successful because they blend in, Tobias. They go to church, they coach Little League baseball. FORNELL: I was on the team that nailed Bundy, Gibbs. And I'm familiar with sick, charming bastards. GIBBS: That's probably why we get along so well. TONY: (V.O.) Oh, I found something, Boss! Found some bone fragments. (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - DAY TONY: Our serial kller spent the last five years getting smoked and tenderized in the Puller High School chimney, only to fall out during the installation of the new furnace. GIBBS: I want to know how he ended up that way, Dinozzo! MCGEE: Boss, he was a building inspector for the D.O.D. When he disappeared in April two thousand one, he was checking structures at Quantico and Little Creek. Puller High School was on his list. ZIVA: It could have been an accident. He could have fallen to his death while inspecting the school. GIBBS: How? Think about it. He couldn't just walk onto a military base. If he drove, they would have found his car. MCGEE: Two thousand Honda Accord disappeared with him. ZIVA: Fourteen victims spread out from nineteen ninety-three until his death. GIBBS: All of them looking pretty much like his wife. TONY: Number fifteen found in his own back yard by yours truly, with the F.B.I. digging for more. Why exactly are we letting the F.B.I. dig for more? GIBBS: They're doing our manual labor. CUT TO: EXT. BACKYARD - DAY TONY: Well, this is the last one, Ducky, unless they find more. DUCKY: Well, this one's also female, judging by the width of the pelvic bones. With the almost complete lack of tissue, I think I'll refrain before I offer a tentative time of death. ZIVA: Especially after the last time. DUCKY: Yes, I do deeply apologize for that. ZIVA: No problems, Ducky. We all make mistakes, yes? DUCKY: Did I ever tell you about the time I shoved a French police officer off a cliff? TONY: There was a lake below. DUCKY: DUCKY: Yes. The man was all right. But they still issued a warrant for my arrest. Gibbs and I managed to keep two steps ahead of them. (CONT.) Eventually we escaped across the English Channel in a sailboat. JIMMY: You and Agent Gibbs were fugitives? DUCKY: Yes, for a short while. Until a young upcoming NCIS agent had the charges dropped. TONY: Jenny. (LONG bat) I mean, Director Shepard. DUCKY: She was the one who commandeered the boat. MCGEE: Director Shepard stole a boat? DUCKY: She wasn't the Director of NCIS at the time, McGee! CUT TO: INT. LIVING ROOM - DAY KAREN: (V.O.) Everything's going to be okay. This is all a big mistake. GIBBS: Mrs. Bright, I need to know how your husband ended up in Quantico. KAREN: He worked at all the bases. Don't you people understand you have him confused with someone else? Some kind of monster! Sweetheart, go get your brother, okay? We're going to go to Grandma's house. Go! AMY: (V.O.) Can't they just leave?!(AMY WALKS O.S.) KAREN: My husband was one of the most loving men on the planet, Agent Gibbs. He treated everyone with kindness and decency. Ask anyone who knew him, Agent Gibbs. Anyone! GIBBS: They're removing four bodies from your backyard. KAREN: Do you know how many old, unmarked graveyards are in Virginia? GIBBS: When was the last time you saw him? KAREN: He was driving to Little Creek. He was... supposed to call when he got to his hotel. GIBBS: That's a long way from Quantico where he ended up. KAREN: I knew. I knew something was wrong when he didn't call. You ever have one of those feelings? When you know something terrible has just happened? GIBBS: Once. KAREN: And did it? (LONG bat) He didn't do these things, Agent Gibbs. And I'm sorry, but there's nothing you people can do or say to ever make me believe this! (SFX: KAREN CRIES B.G.) (GIBBS WALKS TO FORNELL) FORNELL: Stashing four bodies in the yard - that's more than just gloating, Gibbs. GIBBS: Well, they could be his first kills. CUT TO: INT. AUTOPSY ROOM - NIGHT JIMMY: I think we're running out of room. DUCKY: Yes, it won't be lonely in the Mallard Inn tonight. JIMMY: How could someone do the things this man did, Doctor? DUCKY: Oh, in some cases, there's a physiological defect in the hard-wiring of their brains. Yeah, a mechanism that precludes the ability to feel genuine emotion. JIMMY: Did you find anything weird in this guy's brain, like a tumor or a physical abnormality? DUCKY: I did not. JIMMY: Then how do you explain him? DUCKY: I can't. There is also evil in this world, and even armed with all our science and degrees, it remains impenetrable. Perhaps because its depths are unfathomable. There's a very good book that - oh, I seem to have left my bag in the van. Be a good lad and fetch it for me before you leave for the night? JIMMY: You got it, Doctor. CUT TO: INT. AUTOPSY GARAGE - NIGHT (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) (DOOR OPENS/ CLOSES) (SFX: LEE GIGGLES) (DOOR CLOSES) CUT TO: INT. SQUAD ROOM - NIGHT DUCKY: I thought you might be needing a refill. GIBBS: Thanks. DUCKY: Oh, today certainly brought back a lot of memories. GIBBS: Yeah. DUCKY: It also made me realize that since your return, I've been acting a little like a ... GIBBS: An ass? DUCKY: Well, something like that. GIBBS: I didn't notice. DUCKY: Yeah, you and I have been through a lot over the years. Look, I hate to use marriage as an analogy... GIBBS: Then don't. Just tell me what I did to piss you off. DUCKY: The night you retired, you asked me to drive you home. You didn't say a single word the entire trip. No explanation. Not even a goodbye. GIBBS: I was kind of still recovering from the coma, Doctor. DUCKY: And Kelly? And Shannon? All those years of friendship together, and somehow you failed to mention that you have a family. GIBBS: Had. Had a family. You know how I feel about apologies, right? DUCKY: They're a sign of weakness. GIBBS: Not between friends. I am sorry, Ducky. I should have told you. DUCKY: Well, I should have told you something months ago. Welcome home. GIBBS: Thanks. CUT TO: INT. APARTMENT HALLWAY - NIGHT (SFX: MUSIC B.G.) (SFX: KNOCKING ON DOOR CONTINUES) TONY: I hope you had a better day than I did, Ms. Jeanne Benoit. I've been thinking a lot about you lately. And I'm really, really trying to figure out a way to not screw this up. (TONY WALKS DOWN THE HALLWAY) (DOOR OPENS) JEANNE: Tony! TONY: Hey. I thought you were sleeping. JEANNE: I was. CUT TO: INT. APARTMENT - NIGHT JEANNE: So... how was your day? TONY: Well, did you ever see the Texas Chainsaw mssacre? JEANNE: Original or remake? TONY: Either. JEANNE: Neither. TONY: It was a lot like that. But worse. How about you? JEANNE: Kind of like a cross between Trains, Planes, and Automobiles and The Muppets Take Manhattan. TONY: That is a heady, heady brew of strange cinematic references, and I don't know what to make of it. JEANNE: I interned at the children's ward today. TONY: Ah. JEANNE: I felt kind of like that, too. TONY: Beautiful and clever. JEANNE: So why aren't you kissing me? TONY: And she's a mind reader. JEANNE: I'm not exactly stop -- (MUSIC OVER ACTION/ PASSIONATE KISSING) CUT TO: INT. SQUAD ROOM - DAY (SFX: TONY WHISTLES) ZIVA: Are you on medication? TONY: Just had a good night last night. ZIVA: Doing what? TONY: The usual. ZIVA: The usual what? TONY: Night. ZIVA: (LAUGHS) You had sex, didn't you? TONY: What? ZIVA: It's okay to admit it. I mean, we're all adults here. FORNELL: That's a subject I'd be willing to debate, Officer David. Where's Gibbs? TONY: Well, he must have known you were coming, because he's not here. FORNELL: It was really more of a courtesy call, Dinozzo. Letting him know about these orders from Justice. The ones where the F.B.I. is taking over your case. Are you sure he's not around? SHEPARD: (V.O.) These are pretty clear cut-- CUT TO: INT. SHEPARD'S OFFICE - DAY SHEPARD: (V.O.) .... orders, Agent Fornell. (ON CAMERA) (READS) NCIS is hereby ordered to turn over full jurisdiction of the Bright case to the F.B.I. by end of business today. Who'd you have to sleep with to get these? FORNELL: Director, please! A serial kller falls down the chimney on a Marine base. Is that a logical way to decide jurisdiction? SHEPARD: It's been working for us since around eighteen eighty-two. FORNELL: Sadly, Justice didn't see it that way. The F.B.I. has invested twelve years in this investigation. SHEPARD: And my people made more progress in just three days. Now, I can see how that would be embarrassing. FORNELL: I'll get over it. No hard feelings, Jethro? GIBBS: Nope. Just need you to look at something before you leave. FORNELL: You've got that moustache in a box, don't you? CUT TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN) DUCKY: It took more time than I care to admit. But I finally managed to solve the riddle of how our friend died. GIBBS: You may need this. DUCKY: Look closely... in the area of his abdomen. Do you see anything resembling wounds? FORNELL: No. DUCKY: Well, neither did I until I took a second look at the CAT scan. You see, smoking desiccates flesh. Which is why it is the preferred method of preserving meat in less technologically advanced society-- FORNELL: (OVERLAP) Whoa, whoa, whoa! How did he die, Doctor? DUCKY: Well, as the moisture was lost, the victim's tissue - which protected the vital organs - shrank. You see these little black dots? FORNELL: Um.... um.... oh, yeah. DUCKY: He was sab repeatedly and fatally. FORNELL: With what? A safety pin? DUCKY: As I just explained, the shrinkage of the flesh is deceptive. Most likely it was an ice pick or a Phillips-head screwdriver. GIBBS: Somebody klled your serial kller, Fornell. SHEPARD: On a Marine base. Which means, it is still our jurisdiction. (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY TONY: I've seen a lot of things since I became a cop, Ziva. But this? Guy tortures and mrder nineteen women, and then gets off on eating their toes? Whoever whacked this sick freak did us and the world a favor. ZIVA: And our job is to arrest them. It makes perfect sense to me. MCGEE: Justified or not, it's still a crime, Ziva. In this country you cannot take the law into your own hands. TONY: Unless it's your little sister wanted for mrder, right, Probie? MCGEE: You know what I mean. TONY: What if this was your sister? Or her? MCGEE: My point is that we cannot just investigate the crimes that we want to. GIBBS: McGee's right. Does anybody have a problem with that? TONY: No, Boss, it's just... GIBBS: Just what, Dinozzo? TONY: Some days this job really sucks. GIBBS: Yeah? Well, it's about to get worse. Ziva, you and Tony are with Sachs on this one. TONY: Doing what? GIBBS: Coming up with a list of people who wanted Bright dad. ZIVA: Besides everyone in this room? TONY: Except for McLawyer over there. MCGEE: Tony, all I was saying... GIBBS: Go check on Abby. See if she needs any help. (TO FORNELL) Running a little late today, are we, Tobias? FORNELL: You're enjoying this, aren't you? GIBBS: Oh, only slightly more than a lot. Come on. FORNELL: What? GIBBS: Ducky's got something for us. DUCKY: (V.O.) There wasn't any ... MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY DUCKY: .... recoverable tissue from any of the remains. All four bodies were completely stripped to the bone. GIBBS: Yeah, I can see that, Duck. How long were they in the ground? DUCKY: Shallow graves. Exposed to the elements. All four women could have been there for, oh, decades, or for as little as six months. FORNELL: We know it's got to be at least five years. DUCKY: Do we, Tobias? FORNELL: Yes! Unless Bright figured out a way to climb in and out of that smoke stack. DUCKY: For what it's worth, I agree with you. But down here we deal in facts. GIBBS: Meaning you don't know? DUCKY: Well, not yet. GIBBS: You couldn't have told me that on the phone, Duck? DUCKY: Yes, I could have, Jethro. But that's not the reason I asked you down here. I took the liberty of reviewing the profile that the F.B.I. prepared on our serial kller eight years ago. In order to disguise his predatory nature, Bright had to be methodical, precise, cautious almost to a fault. FORNELL: Your point? DUCKY: Well, if the F.B.I.'s finest couldn't get him, it makes me wonder who did? GIBBS: He knew his kller. That's good work, Ducky. (SFX: DOORS SLIDE OPEN) DUCKY: Well, how else could someone get close enough to him to sab him to death with a screwdriver? GIBBS: (INTO PHONE) Dinozzo. TONY: (V.O./FILTERED) Yeah, Boss. GIBBS: (INTO PHONE) Concentrate on the high school. Someone there had to have a personal connection to Bright. TONY: (V.O./FILTERED) On it. GIBBS: (INTO PHONE) Find him. MUSICAL BRIDGE TO: INT. ABBY'S LAB ABBY: I'm a forensic scientist, McGee. I don't need anyone checking up on me. What I do need is to date those bones, the ones that we found in Beef Jerky's backyard. MCGEE: Marty? ABBY: Yes! Why didn't I think of that? Marty got his degree in forensic botany at Penn State. The roots grew into the bones. So if Marty can I.D. the plant, he can probably give us a rough estimate as to when they were buried. Way to go, McGee! How did you know what Marty majored in? MCGEE: I didn't. Who is he? ABBY: He's .... just a friend. MCGEE: (READS) "Being with you makes me believe size truly doesn't matter, Abby." ABBY: Okay, he's a really good friend. CUT TO: INT. SQUAD ROOM - DAY (SFX: TONY TYPES SLOWLY) SACKS: Where the hell did you learn how to type? TONY: Do you mind? Your breath's taking the starch out of my collar. GIBBS/FORNELL: (IN UNISON) What have we got? ZIVA: Um, the teaching staff's still present from five years ago. All claim not to have known Bright. FORNELL: Well, if they mrder the guy and stuffed him down the chimney, that's not surprising. GIBBS: Tony? TONY: Running down a list of substitutes who used to teach back then. GIBBS: His wife's a teacher. Third grade. See if she ever worked at Puller. TONY: We check for Brights already, Boss. There are none. GIBBS: Check her maiden name. ZIVA: Her maiden name is Burris, Tony. TONY: Burris. B.U.R.... okay, got one ht. Karen Burris. Subbed for Social Studies and Western History in two thousand and one. (V.O.) Social security number listed is the same as Bright's wife! CUT TO: INT. MARTY'S LAB - DAY ABBY: Wow! My mom always told me big things come in small packages. PEARSON: What a coincidence. Mine always warned me about tattooed girls bearing... samples. ABBY: I'm talking about your lab! I love it! PEARSON: Yeah? Pretty sweet, huh? ABBY: Sweet? I'd kll for half this equipment. PEARSON: Really? What would you do for all of it? CUT TO: INT. OBSERVATION ROOM TONY: What's your crazy ninja sense telling you? ZIVA: She's scared. TONY: I mean, about whether she shanked Beef Jerky and dropped him down the wishing well? ZIVA: What would you do if you woke up one day and you discovered you were married to a monster? TONY: Happened to my father all the time. We usually just moved. ZIVA: Ah, that explains it. (DOOR OPENS) CUT TO: INT. INTERROGATION ROOM GIBBS: Karen, you were a substitute at Lieutenant General Lewis Puller High School.(DOOR CLOSES) KAREN: I've.... I've worked at a lot of schools in the area. What does that have to do with this? FORNELL: Considering we found your husband petrified in the chimney there? Quite a bit. GIBBS: Karen, we know this is hard. But we're here to help. And it's important that you tell us the truth. FORNELL: When did you find out? KAREN: Find out? FORNELL: That your loving husband... was mrder women who looked just like you. KAREN: I told you. My husband didn't do those things. GIBBS: He removed the toes from their left feet. We think that you know why. Would you mind taking off your shoe and showing us your left foot? KAREN: Please. GIBBS: Karen. (MUSIC OVER ACTION/GIBBS REMOVES HER SHOE) FORNELL: Your husband was an evil man. KAREN: That thing was not my husband! It wasn't the man I married. It had to be stopped! Don't you see? I had no other choice. FORNELL: You could have gone to the police. KAREN: (CRYING) And have my children live the rest of their lives knowing that monster was their father? No! I had to! I had to protect them from it. (SFX: KAREN CRIES B.G.) CUT TO: INT. PEARSON'S LAB - DAY PEARSON: Gaultheria procumbens. Evergreen shrub. More commonly known as wintergreen or checkerberry. I need to see the photo where the sample was recovered from. ABBY: It was taken from between the fibula and the tibia. PEARSON: Go back to the wide sht. Now go to that quadrant. That's a wintergreen. About five meters from the remains. Judging from the thickness of the root, annual growth rate, and the soil samples you brought me, you can calculate roughly how long the body's been buried. Plus or minus six months. You can tell it was a live sample by the tiny little sh*t forming off the main root. Want to see? (bat) Abby? CUT TO: INT. OBSERVATION ROOM ZIVA: In her position, I can't say I wouldn't have done the same thing, Tony. TONY: McGee was right... about taking the law into your own hands. She's lucky she wasn't his last victim. CUT TO: INT. INTERROGATION ROOM (KAREN CRIES B.G.) (DOOR CLOSES) FORNELL: Karen, no one should have to live through what you did. Believe me when I tell you that there's no jury in the world that wouldn't sympathize with you. (SFX: PAGER BEEPS) FORNELL: (bat) It's not me. CUT TO: INT. OBSERVATION ROOM GIBBS: (INTO PHONE/FILTERED) What? TONY: What do you want to bet that's McGeek? Rule twenty-two. Never ever bother Gibbs in interrogation. ZIVA: (LONG bat) Tony, I don't think it's McGee. GIBBS: (INTO PHONE/FILTERED) Got it, Abs. Thanks. CUT TO: INT. INTERROGATION ROOM FORNELL: You'll be okay, Karen. You can get through this. GIBBS: Get away from her, Tobias! The bodies in the yard are not from five years ago. FORNELL: They're older? GIBBS: No. They're more recent than that. Her husband wasn't the serial k*ller. She is. CUT TO: INT. SQUAD ROOM - NIGHT FORNELL: I've got to tell you, Jethro, that was... that was... GIBBS: Mm-hmm. FORNELL: How in the God's name could we miss that? GIBBS: I don't think God had much to do with it, Tobias. FORNELL: You know what's really got me freaked out? If her husband's body hadn't gotten hung up going down that chimney five years ago, she'd still be out there. We'd never have caught her. GIBBS: I can do you one better than that. FORNELL: Nah. Can't top that, Jethro. GIBBS: What was the toe doing in her husband's stomach? (MUSIC OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x10 - Smoked"}	foreverdreaming
MUSIC IN: INT. HUMVEE - DAY SEABROOK: (V.O.) Retesting evasive driving techniques. (ON CAMERA) Third time's a charm, Otto. You can do it. (MUSIC OVER ACTION SCENES /HUMVEE DRIVES THROUGH THE TEST COURSE) SEABROOK: Give me a one-eighty, Otto. (MUSIC OVER DRIVING SCENES) SEABROOK: Yes! Didn't touch a single cone on that run! I would call that a pass, baby. Phase two. This one's for you, Torsten. Go for it, Otto. Make me proud. (MUSIC OVER DRIVING SCENES) SEABROOK: (V.O.) Avoiding civilian casualties during high speed egress. (SFX: TIRES SCREECH) SEABROOK: Oops! Sorry about that, Torsten. (CHUCKLES) Need to recalibrate the braking-to-service algorithm. That was my fault, Otto. Not yours. Test concluded. Take me home, Otto! CUT TO: INT. GARAGE - DAY (HUMVEE DRIVES INTO THE GARAGE) CUT TO: INT. HUMVEE - DAY SEABROOK: Hm...(V.O.) still a few bugs to work out, (ON CAMERA) but Otto and I are both feeling much better about the drive-off next week. Oh, note for Jamie. Fuel pressure gauge is fluctuating. (SFX: ELECTRIC DOORS CLICK SHUT/SEAT BELT LOCKS) (SFX: SEABROOK GASPS) SEABROOK: Malfunction in the electrical system at zero six thirty eight. Initiating software shutdown. (SFX: HUMVEE ENGINE STARTS) (SFX: SEABROOK COUGHING) SEABROOK: Exhaust in the cabin. Otto's core is frozen. I'm hitting the kll switch. (SFX: SEABROOK STRUGGLES/ COUGHS) SEABROOK: Come on! Come on! I'm trapped in the... (COUGHS) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: CLOSE ON BLUE SCREEN: Sexual Harrassment Don't let it happen to you. TAYLOR: (V.O.) Lights please. CUT TO: INT. CONFERENCE ROOM - DAY "DRIVEN" TAYLOR: From the video presentation, it's clear that sexual harassment can take many forms in the work place. A co-worker with "elevator eyes" looking you up and down. A co-worker shows you a cartoon or photo of a sexual nature. TONY: (TO MCGEE) If you're lucky. TAYLOR: A co-worker's hand accidentally brushes up against your body. ZIVA: (TO TONY) If you're really lucky. TAYLOR: Physical contact can be divided into three categories. Green light includes normal behavior. Yellow light includes borderline behavior such as hugging someone or ...(bat) Yes? ABBY: What's wrong with hugging people? I hug people all the time! TAYLOR: You may see it as friendly, but your co-workers may find it offensive. ABBY: You guys get offended when I hug you? TONY: No! (ALL: "No!") ABBY: I'm hugging you all in my mind right now. TAYLOR: D.O.D. policy is very clear about this point, Miss. You must first ask permission before making physical contact with a co-worker. ABBY: Like... every time? TAYLOR: Yes. And finally, there's red light behavior such as deliberate, unwelcomed, touching. (SFX: TONY SHOUTS/JUMPS FROM THE CHAIR) TAYLOR: (LONG bat) Another question? TONY: Yeah. What if you slap someone in the back of the head like this? Would that be considered an inappropriate behavior? TAYLOR: Absolutely. Are you saying that this has actually happened? TONY: (LONG bat) No, I was just wondering. That's all. TAYLOR: Yes? (PHONE RINGS) JIMMY: Uh, yes. Uh... what if part of your job.... GIBBS: (INTO PHONE) Gibbs. JIMMY: ... includes touching naked people, and... TAYLOR: That's inappropriate at any time. JIMMY: Even if they're dad? TAYLOR: Why are you touching dad, naked people? JIMMY: You see, I work in Autopsy. TAYLOR: Can we try to keep this discussion focused on the topic? GIBBS: Gear up! (TO SHEPARD) Navy Lieutenant's been found dad in an R and D facility in Fairfax. TAYLOR: Wait, I can't mark you as attending unless you're here for all of it. SHEPARD: Uh, Miss Taylor, I will take excellent notes for them. TAYLOR: Okay. MUSICAL BRIDGE TO: INT. GARAGE - DAY GIBBS: Ducky won't be here. He's got to take his mom to the hospital. JIMMY: Is Victoria all right? GIBBS: Well, she cut herself shaving. And for some reason, he thinks you can handle this, Palmer. JIMMY: Um... what do you think, Agent Gibbs? GIBBS: Well, I don't know, Palmer. You got me a T.O.D.? JIMMY: Yes! According to the liver probe, she died two hours and eighteen minutes ago. GIBBS: Does it tell you how? JIMMY: Actually, the probe only tells you the difference between ambient temperature and ... but you already know all this. Uh... tentatively, I'd say she died from hypoxia, Agent Gibbs. GIBBS: Carbon monoxide poisoning. JIMMY: Yeah, most likely. In sixty percent of cases it's accidental. And the other twenty-nine percent - they're self-inflicted. GIBBS: Well, I'm more concerned with the three percent you left out. MCGEE: Palmer, he's talking about the ones deliberately mrder this way. GIBBS: (V.O.) How'd she get on the floor? ZIVA: A co-worker found her in the passenger seat, in there, door still closed and the engine running. MCGEE: He drove it out, attempted CPR. Tony's taking his statement now. GIBBS: What kind of vehicle is this? MCGEE: It is a second-generation, fully-autonomous A-I operated vehicle, Boss. GIBBS: Oh, yeah. I can see that, McGee. I mean, other than the obvious. ZIVA: Wait, you actually understood that? You know what it does then? GIBBS: Yeah. Your basic second-generation, A-I autonomous stuff. (bat) Where the hell does the driver sit? ZIVA: That's the point. There isn't one. It drivers itself. MCGEE: Boss, A-I stands for artificial intelligence. It's a robot. CUT TO: INT. MAIN LAB - DAY ENGLER: All I'm saying, Agent Dinozzo, is our entire team is under a tremendous amount of stress. We're competing against dozens of teams. Three and a half years of work and it all comes down to a single proof-of-concept test. TONY: Robot car race? ENGLER: In crude terms, yes. TONY: What do you get if you win? ENGLER: Recognition in my field. TONY: What about one of those cool trophies like they hand out in NASCAR? ENGLER: I wouldn't know. I'm a scientist, not a redneck. TONY: It is the fastest growing sport in the country. I rest my case. ENGLER: In my opinion, it's clear what happened here. When I found Seabrook, she was sitting in Otto with the diagnostic bay doors closed and the engine running. What's that tell you? TONY: You think she klled herself? ENGLER: I do. TONY: What about an accident? Or a malfunction? ENGLER: All she had to do to shut Otto down was to flick the kll switch. It was right in front of her on the dash board. Obviously, she couldn't face her own faults and missed deadline, so... she took the coward's away out. PIKE: That's enough, Torsten! ENGLER: She's dad, Russell. There's no need for you to continue the charade of defending her. PIKE: I'm Doctor Pike, project leader. Where is Lieutenant Seabrook? Could you... stop? Can I... can I see her? Roni... what have you done? (SFX: BAG UNZIPS) MUSICAL BRIDGE TO: INT. GARAGE - DAY MCGEE: (V.O.) Ziva, you have really got to see this! ZIVA: See what, McGee? MCGEE: It's an Atlas-Seven CPU! The same one developed for the Martian rovers. ZIVA: And how does this pertain to the case? MCGEE: Oh, it doesn't. I just thought it was cool. If you think about this-- (SFX: ZIVA SLIPS AND LANDS ON MCGEE) ZIVA: That better be your handcuff. TONY: I believe this is a classic "yellow light" situation. ZIVA: Stop moving, McGee! My hand's stuck! MCGEE: Okay. TONY: That's not the only thing that's stuck. Make that "red light" situation. ENGLER: What are you doing? TONY: Investigating a dad Naval Officer. ENGLER: That's a twenty-two million dollar piece of equipment, you - you people are jeopardizing my entire project! TONY: We're doing our jobs. What'd you find? MCGEE: Ah, it's a USB cable. Still attached to the console in the passenger side. ZIVA: Also bagged a battery for a laptop in the front seat. ENGLER: I removed it up top. TONY: We'll need it. ENGLER: Absolutely not. It contains a backup copy of Otto's A.I. TONY: Well, whatever that is, we'll need that, too. ENGLER: That is Otto. ZIVA: Already got it covered, Tony. Tow truck should be here any minute now. ENGLER: This is... this is our only prototype! You people... you people are... you're.... TONY: We're cops, Federal agents, police officers. Maybe if you sound it out, it's easier. You know, English as a third language is always the trickiest one. ZIVA: I'll take the laptop now, please. CUT TO: INT. PIKE'S OFFICE - DAY PIKE: I've known Roni for almost ten years, Agent Gibbs. She was one of my brightest students at M.I.T. An exceptional mind. Light years ahead of her peers when it came to the field of artificial intelligence. GIBBS: Machines that can think. PIKE: Yes. GIBBS: So that Humvee can think? PIKE: Only about driving. An easy task for you or me, but for a machine it takes millions of calculations a second, and complex reasoning skills. GIBBS: According to the Navy, your thinking car is a joint project with them and Azeon. PIKE: They've been very good to us as far as R and D resources go. GIBBS: Meaning money? PIKE: And Lieutenant Seabrook's time. GIBBS: We're going to need your security tapes and access logs that you keep, Doctor. PIKE: She wasn't even supposed to be here this morning, Agent Gibbs. She worked late last night. I... I gave her the morning off. GIBBS: She didn't take it. She died in your garage zero six forty this morning. PIKE: She must have come in to run a test. She's... was a perfectionist. Never satisfied. Traits I'm afraid I encouraged her in. GIBBS: Sitting in a running vehicle inside an enclosed space is not a bright idea. PIKE: Trust me, Agent Gibbs. Roni was not the type to kll herself. GIBBS: What type was she, Doctor? PIKE: Driven. CUT TO: INT. SQUAD ROOM - DAY ZIVA: Lieutenant Seabrook's Naval career was most unusual. No deployments, and as far as I can tell, she never set foot on a ship. TONY: Well, she was an egg head. They don't recruit them to fight wars. ZIVA: No, just to build machines for fighting them. Maybe she had enough. TONY: Enough of what? ZIVA: You'd be surprised how many wapon designers take their own lives. MCGEE: I might have a better motive. Azeon had everything leveraged on Otto. It fails the drive-off, the company goes bankrupt. ZIVA: Sabotage. MCGEE: Someone wanted them to fail. ZIVA: Not bad, McGee. TONY: I've got one better than better. Curious to know what follows "red light" behavior, Ziva? ZIVA: Uh... potential pregnancy? TONY: That's a good guess, but not in this case. Check this out. I ran the security footage taken from the lab. Zero one fifteen. Last two people present were our Lieutenant and this guy. Azeon's chief mechanic, Jamie Jones. Hold onto your socks. It gets a little steamy.(SFX: KEYBOARDING) MCGEE: What about the video from this morning when she died? TONY: Oh, yeah! Why didn't I think of that? Someone erased it. The last image taken from any camera stops at zero five thirty-seven this morning. And then nothing but snow. ZIVA: She was mrder. (MUSIC UP AND OUT) FADE IN: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN) DUCKY: Did you find my bag, Mister Palmer? JIMMY: In the trunk of your car, Doctor. DUCKY: Oh, thank you. I'm sorry if I seem a bit flustered today. JIMMY: Well, it's understandable, Doctor. Where did your mother cut herself? DUCKY: Well, let's just say that a woman in her nineties should not be using a straight-edge razor when grooming, and leave it at that. Are you hiding a secret from me, Mister Palmer? Well, it's nothing to be embarrassed about. I'm thinking of doing the same thing myself. JIMMY: You are? DUCKY: Yes. Only in my case I have to be careful of heart strain and muscle fatigue. How long have you been pumping? JIMMY: (CHUCKLES/STAMMERS) I wouldn't call it "pumping", Doctor. DUCKY: Well, whatever they call it these days, I'm impressed with you. JIMMY: Really? DUCKY: Yes, you've certainly got yourself in shape. Have you joined a gym? JIMMY: (bat) A gym!? Yes! Yes, I have... a few months ago. (SFX: DOORS SLIDE OPEN/ CLOSE) GIBBS: What do we got, Duck? DUCKY: Oh, Mister Palmer's initial assumption was correct. Lieutenant Seabrook died of carbon monoxide poisoning. GIBBS: Tell me something I don't know. DUCKY: The levels of CO in her blood - five times the fatal dose. Yes, she was probably rendered unconscious in less than thirty seconds. GIBBS: Not possible unless she was-- DUCKY: She was breathing in the exhaust fumes directly from the tailpipe. GIBBS: Or someone pumped it into the vehicle. DUCKY: Which makes sense in light of what else I found. Evidence of asault. Look at her wrists. They're bruised. GIBBS: She was restrained. DUCKY: And I also found what appeared to be bite marks on her inner thighs and back. GIBBS: Run a rpe kit. DUCKY: I did. That's when I found this. An intrauterine device. More commonly known as an I.U.D. JIMMY: Is it just me, or does anyone else wonder how they get those ol' things in there? (bat) That probably sounded a lot more inappropriate than I meant. GIBBS: Do you think, Palmer? DUCKY: As I was saying, when I ran the rpe kit, I found fresh male genetic material from last night or early this morning. Abby's running the samples now. I also found traces of engine oil and a particular kind of lotion on her hair and skin. JIMMY: The main ingredient was pumice. GIBBS: Grease-monkey soap. DUCKY: Yeah, except her nails and hands are clean. The skin is soft, no calluses to speak of. GIBBS: Not her soap. DUCKY: No. She certainly wasn't a regular user. GIBBS: Thanks, Duck. (SFX: DOORS SLIDE OPEN) DUCKY: Did you learn nothing in that class this morning, Mister Palmer? CUT TO: INT. SQUAD ROOM - DAY ZIVA: Jamie Jones was arrested in nineteen ninety-eight for asault and battery on his girlfriend, and she dropped the charges and married him six months later. TONY: Well, there's no accounting for taste. Look at Brittany and K-Fed. ZIVA: At least she was smart enough to ask for a divorce. MCGEE: So was Jones' wife. Divorced three years ago. Ooh, and there's a retraining order. ZIVA: Shocking. MCGEE: Not on him. He got it against his ex-wife. TONY: Lieutenant Seabrook wasn't alone at Azeon last night, Boss. GIBBS: She was with a mechanic. TONY: Yeah. The Azeon security cameras caught it. ZIVA: And there was evidence she was... GIBBS: Sexually asault? Ducky thinks she was rped. TONY: Yeah, check this out. (MUSIC OVER VIDEO FOOTAGE) GIBBS: You got a warrant yet? TONY: Yeah. Right here. Name's Jamie Jones. Ziva and I were going to pick him up. GIBBS: Not anymore. You're processing the Lieutenant's apartment. MCGEE: Boss, what about me? GIBBS: You get with Abby. CO levels in that vehicle were off the chart. You find out how he did it! (GIBBS WALKS O.S.) ZIVA: Ah, letting me drive? TONY: No, I'm meeting you there. I need to drop something off at the hospital. ZIVA: What? TONY: A stool sample. Would you like to see it? ZIVA: Do you want me to sab you in the eye with my Knfe? Huh. CUT TO: INT. GARAGE - DAY (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) MCGEE: Abby? ABBY: (V.O.) Over here! MCGEE: Over where? ABBY: (V.O.) Over down here! MCGEE: I'm trying to decide if this is a "yellow light" or a "red light" situation. ABBY: You only wish I was still sexually harassing you. MCGEE: So uh... Gibbs wants us to figure out how so much CO got pumped into the vehicle's cabin. ABBY: ABBY: Okay, first of all, McGee, his name is Otto. (SPELLS) O.T.T.O. It's a Palindrome. And second, he is so much more than a vehicle. (CONT.) I've never seen programming like this. It's complex, elegant, visionary - it's way out of my league. You? MCGEE: I got lost about about fifty lines in. Seabrook was operating on a whole different level. ABBY: If they use the AI to sabotage or redirect the exhaust into the ventilation system, that could take us months to track. MCGEE: Make sure you tell Gibbs that. ABBY: I did. I told him we needed help from the Azeon people. MCGEE: How? Right now they're all suspects. ABBY: That's what he said. MCGEE: Great. How long did he give us this time? ABBY: Today. CUT TO: INT. MAIN LAB - DAY ENGLER: This is completely unacceptable. When do we get our vehicle back? GIBBS: When we're done with it. ENGLER: Doing what? GIBBS: Figuring out how it was used to kll Lieutenant Seabrook. ENGLER: Are all NCIS agents this stupid? PIKE: Mister Engler! Insulting our guest won't bring Otto back here any sooner. ENGLER: Of course. My apologies. How long will it take for you to figure out Roni klled herself, Agent Gibbs? GIBBS: Who said she klled herself? ENGLER: She was the only one down here this morning! GIBBS: You mean except for you? PIKE: Torsten, take a break. I'll handle this. ENGLER: You'd better, Russell. He's jeopardizing the entire future of this company. (ENGLER WALKS O.S.) PIKE: What he was trying to say was that this proof of concept test is make or break time for us, Agent Gibbs. GIBBS: Reschedule it. PIKE: I tried. The D.O.D. won't budge on the dates. Dozens of teams are flying in from all over the world! GIBBS: Then you'd better help me find Lieutenant Seabrook's kller. Where's your chief mechanic? PIKE: Jamie? No. No, not possible. He got along very well with Roni. They were very good friends. GIBBS: He sexually asault her in this garage last night. MUSICAL BRIDGE TO: INT. HOSPITAL - DAY (SFX: VOICES B.G.) JEANNE: Oh, right. Come on. TONY: Definitely a yellow light. JEANNE: Cytology tests take seventy-two hours. But Doctor House gets the results back in ten minutes. It's ridiculous. TONY: In the entertainment world they call that suspension of disbelieve, actually. JEANNE: Tony! TONY: Hi. JEANNE: What are you doing here? TONY: Oh, well, I was in the area and I thought I would drop this off. JEANNE: You found it! TONY: Yes, I did. JEANNE: Thank you. TONY: Uh... who's the guy molesting your neck over there? JEANNE: Oh. TONY: I'm curious. JEANNE: Am I detecting a little bit of jealousy here? TONY: Huh. Me? (CHUCKLES) Jealous? Yeah. Who was he? JEANNE: He's gay. TONY: Okay. Good. JEANNE: What's next? Insisting that I can't see other people? TONY: Oh, no. That would.... that would just be cruel. JEANNE: You're the one who was too busy to see me last night. TONY: Yeah. And I'll make it up to you. JEANNE: When? TONY: Tomorrow? I promise. JEANNE: Promise. TONY: What's that - marking your territory? JEANNE: Oh, just a reminder until you make good on your promise. MUSICAL BRIDGE TO: INT. APARTMENT - DAY (MUSIC OVER ACTION/ZIVA WALKS THROUGH THE LIVING ROOM) (DOOR OPENS) TONY: Looks like she did a Trading Spaces with John Nash. Russell Crowe played him in Beautiful Mind, the Ron Howard movie about the insane mathematician. ZIVA: What kind of tests are you getting done? TONY: Why? Are you worried about me? ZIVA: You're keeping a paper bag filled with crap in your desk. What do you think? TONY: I think you should go and check the bedroom. That is, unless you want me to come with you... and help? (bat) What? ZIVA: Just wondering if offering to take me to a bedroom constitutes sexual harassment. TONY: Well, if you have to ask then it's not harassment. ZIVA: (V.O.) Tony, get in here! MUSICAL BRIDGE TO: INT. BEDROOM - DAY ZIVA: I just found Jamie Jones. JONES: (MUFFLED) Untie me! CUT TO: INT. OBSERVATION ROOM ZIVA: What do you think, Tony? TONY: Well, you saw the video of him asault Lieutenant Seabrook. ZIVA: Doesn't explain how he ended up tied to her bedposts, with a ball gag in his mouth. TONY: Well, have you ever heard of accomplices? (SFX: CELL PHONE RINGS) TONY: Oh. (INTO PHONE) Tony.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) JEANNE: (INTO PHONE) Am I catching you at a bad time? (SCENE CUT) TONY: (INTO PHONE) Ah, what can I do for you? (SCENE CUT) JEANNE: (INTO PHONE) Tomorrow night I was thinking of sushi. There's a great new place in Georgetown. TONY: (V.O./FILTERED) Okay. JEANNE: (INTO PHONE) Oh, don't sound so excited. (SCENE CUT) TONY: (INTO PHONE) I'm at work. But right. Got it. Okay. (END TELEPHONE INTERCUTS) (TONY AND ZIVA STRUGGLE OVER THE CELL PHONE) TONY: What part of inappropriate touching don't you understand? ZIVA: Uni Hospital? Test results came back already? TONY: I'm pregnant. McGee's going to be very proud. (bat) What are you looking at? Keep an eye on the jump suit. CUT TO: INT. GARAGE - DAY MCGEE: Seabrook's got a bunch of MP3 files on here. All created over the last twenty-four hours. ABBY: Do you think she was illegally downloading? MCGEE: No, they were recorded with a laptop's microphone. I think she was making verbal observations while running her test. I'm going to line up the time stamps. She might have made a recording while she was dying. CUT TO: INT. HUMVEE - DAY ABBY: So she was in the passenger seat. (DOOR CLOSES) ABBY: Probably ... buckled her seatbelt. If she was tied to something, what would she be tied to? Hm... (SFX: SEATBELTS ELECTRONICALLY LOCK) (SFX: WINDOWS RAISE) (SFX: ENGINE STARTS) ABBY: (SHOUTS) McGee! McGee! (MUFFLED) McGee! McGee! McGee! McGee, help me! McGee! (SFX: ABBY COUGHING) (MUSIC OUT) MUSIC IN: INT. GARAGE - DAY (SFX: ENGINE B.G.) ABBY: (SHOUTS/MUFFLED) McGee! McGee! Help! (SHOUTS/MUFFLED) It won't open! The kll switch - (COUGHS) (ELEVATOR DOORS OPEN/ CLOSE) (SFX: EMERGENCY WARNING HORN B.G.) GIBBS: (SHOUTS) Cover your face! (SFX: gn) (SFX: GLASS SHATTERS) (DOOR OPENS) (SFX: ABBY COUGHING) ABBY: Permission to hug! GIBBS: You know you never have to ask, Abby. MCGEE: What happened!? GIBBS: Get the chair! ABBY: I almost bought the farm, McGee! I saw that old lady telling me to run to the light. MCGEE: Boss, my back was only turned for a few seconds. GIBBS: A few more seconds, McGee, she'd be dad. (TO ABBY) Are you okay? ABBY: Yeah. Really light-headed. (ELEVATOR DINGS/ DOORS OPEN /CLOSE) TONY: Boss! Evidence cage called in an emergency! GIBBS: It was me, Dinozzo. Stand down. ZIVA: You attcked a car? GIBBS: Car tried to kll Abby. ABBY: I think there was a short. When I tried to unbuckle my seatbelt, it pinned me back and the windows shut, and the engine started. It triggered all the doors in the car to lock. And then the whole cabin filled up with exhaust. A few minutes more I would have been singing hymns with my angels right now. MCGEE: Abby, I'd have noticed before then. ABBY: Then I would have hugged you, McGee. TONY: So Lieutenant Seabrook was klled by a malfunction? MCGEE: Too many variables. GIBBS: It was deliberate. ZIVA: The Lieutenant was set up to look like su1c1de. TONY: I think it's time we had a heart-to-heart with Jones, Boss. GIBBS: How'd he do it? (LOUDLY) It's not a damn quiz, McGee! Find out! MCGEE: On it. GIBBS: What'd you say to Jones? TONY: Nothing. He's been asking about Lieutenant Seabrook, acting like she's still alive. GIBBS: Come on. Ducky's checking you out. ABBY: I'm fine. I just-- GIBBS: It's not a request, Abby. MUSICAL BRIDGE TO: INT. HALLWAY - DAY TONY: This is not good. CUT TO: INT. OBSERVATION ROOM - DAY (DOOR OPENS) JONES: Look, this is all just a big misunderstanding, Agent Gibbs. All you have to do is call one phone number, man. CUT TO: INT. OBSERVATION ROOM GIBBS: Lawyer. JONES: No. CUT TO: INT. OBSERVATION ROOM JONES: Roni. Look, I know what it must look like back at her apartment. But ... GIBBS: Lieutenant Seabrook's your girlfriend now? JONES: Yeah. We've worked together for a few years. We started dating maybe six months back. GIBBS: Dating? JONES: Yeah. GIBBS: (bat) What's that look like? JONES: It's a stupid game, man. Only when we're alone. GIBBS: You like games, Jones? JONES: We're just role-playing, all right? It's not like we're freaks. Come on, man. Am I going to lose my security clearance over this?! GIBBS: Hey! You almost klled-- CUT TO: INT. OBSERVATION ROOM GIBBS: ... one of my people today!! CUT TO: INT. INTERROGATION ROOM JONES: What? ZIVA: That damn Humvee you used to kll Lieutenant Seabrook! JONES: Roni? What the hell are you talking about? GIBBS: Roni is downstairs, Jones, on a steel slab! JONES: (bat) This is one of her jokes, right? (bat) Is she behind the glass? CUT TO: INT. OBSERVATION ROOM JONES: Huh? (SHOUTS) Because if you are, Roni, this isn't funny! (PAUSE) Roni? Tell me that's not her. MUSICAL BRIDGE TO: INT. GARAGE - NIGHT MCGEE: I did it, Abby. I know how they got in. ABBY: How'd you know I was here? MCGEE: I didn't. Abby, I'm sorry for... ABBY: I know. (ABBY HUGS MCGEE) MCGEE: I thought you were supposed to ask for permission first? ABBY: Never with you, Tim. CUT TO: INT. OBSERVATION ROOM ZIVA: He's telling the truth. GIBBS: Just a quick test run and she's coming right back to him. (CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. ABBY: (V.O./FILTERED) McGee figured it out! GIBBS: (INTO PHONE) Right with you, Abs. (DOOR OPENS/ CLOSES) CUT TO: INT. ABBY'S LAB - DAY MCGEE: The reason that we couldn't find how they hacked the AI program was they didn't. ABBY: They snuck in before the system was even online. GIBBS: Makes sense. MCGEE: There were a series of commands inserted into the flash memory of the bios at boot-up. ABBY: They waited until the conditions were met, and then BAM! kller-car syndrome. MCGEE: Once excuted, it purged from memory. The only trace left, an extra space on one of the motherboard's bio chips. GIBBS: I figured it'd be something like that. ABBY: Right. Um... we know the program was flashed from a physical devise that was tied into the system. MCGEE: Memory stick, SD card. We just need to find it. ABBY: When we do, we'll have the kller code and a clue to who wrote it. (bat) I think we lost him. We need to try it again, but slower. GIBBS: So what you're saying, for example, we need to find something this small in a Humvee jammed with twenty-two million dollars worth of electronics. MCGEE: Pretty much. GIBBS: We're screwed. ABBY: That is an excellent point. CUT TO: INT. MTAC ROOM - NIGHT TONY: You wanted to see me? SHEPARD: You have plans tonight, Tony. TONY: Actually, no. Tomorrow I'm going to a-- SHEPARD: It wasn't a question. We've had these three (V.O.) under observation ever since you tagged their bags at the airport. They made reservations for dinner tonight... here. The reservation (ON CAMERA) is for four. I want to know who they're meeting with. TONY: Excellent. I've always wanted to try the food at this place, but it's a little outside of my price range. SHEPARD: You won't be inside. We couldn't risk them IDing you as the baggage handler from the airport. TONY: So what's the plan? SHEPARD: We're going to take a more covert approach on this one. TONY: Oh. Did I ever tell you covert's my middle name? CUT TO: EXT. STREET - NIGHT TONY: (SINGS) In my perspective.... I see the people from the big jet plane. The woman looks Teutonic, she drinks a vodka tonic, and two bald men sit with her, waiting for a fourth. They're not going to order that main course until that person comes. (TO DOG) Hey! Everybody's a critic. Am-scray! Get out of here!(SFX: TONY PLAYS THE GUITAR/ SINGS) (SFX: DOG WHINES B.G.) WOMAN: (V.O.) I thought sure... but will you call me... CUT TO: INT. MTAC - NIGHT SHEPARD: Keep your eyes on the prize, Tango-Eight. I may even let you keep the money you're making. CUT TO: EXT. STREET - NIGHT TONY: (SINGS) Oh sorry! I just do... CUT TO: INT. MTAC - NIGHT TONY: (SINGS/V.O.) ... what I can. SHEPARD: You're not going to sing the whole thing, are you? TONY: (SINGS/V.O.) I've got to do... CUT TO: EXT. STREET - NIGHT TONY: (SINGS) ... what I got to do. I am just a man. Oh! Speaking of man. CUT TO: INT. MTAC - NIGHT TONY: (SINGS/V.O.).... Another man walked through that front door wearing a polka dot scarf. Will he join the table? I don't know. Yes, he does! And greets the pretty lady. What do they say? Who knows? CUT TO: EXT. STREET - NIGHT TONY: (SINGS) He's sitting at the table with the other people from the plane. CUT TO: INT. MTAC - NIGHT SHEPARD: Stay steady on the target, Target-Eight. I want his photo. Isolate and freeze frame! TONY: (SINGS/V.O.) They are having a conversation. CUT TO: EXT. STREET - NIGHT TONY: (SINGS) A heavy, heavy, conversation. That man talk-a, talk-a.... CUT TO: INT. MTAC - NIGHT TONY: (SINGS/V.O.) ...talk-a lot. He talk-a, talk-a, talk-a lot. Jenny... CUT TO: EXT. STREET - NIGHT TONY: (SINGS) ...do you think I've been made? CUT TO: INT. MTAC - DAY TONY: (SINGS/V.O.) Do you see what I see? SHEPARD: Relax, Tango-Eight. I'm sure he's just checking his reflection in the glass. MUSICAL BRIDGE TO: INT. GARAGE - DAY ABBY: Hey, what was that movie where they took the whole car apart? MCGEE: I'm not Tony. ABBY: Come on. You know the one. They were looking for heroin and they took apart that entire car? MCGEE: Still not Tony. Abby, I think I found it! (SFX: KEYBOARDING) MCGEE: That's it. That's the kll program. ABBY: Yes! GIBBS: That's a good job. Now put it back together. (bat) As in now. ABBY: Gibbs, what's the rush? GIBBS: The Director just assured the Secretary of the Navy we were handling this thing with kid gloves. ABBY: Well, we didn't get that memo! Because, you know, we're wearing latex. GIBBS: Well, they want a team from Azeon to come by and check and make sure we didn't break anything. MCGEE: When? GIBBS: Two hours. MCGEE: Boss, it took us ten just to take it apart! (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) GIBBS: Yeah, that's why I brought you help. JONES: And Roni would be in tears if she saw Otto like this. GIBBS: Can you do it or not, Jones? JONES: Does he have to run? GIBBS: It'd be nice. CUT TO: INT. SQUAD ROOM - DAY ZIVA: Are you all right? TONY: Define "all right?" ZIVA: You find out the results from the medical tests yet? TONY: Not yet. What time is the Azeon team getting here? ZIVA: Oh, forty minutes ago. You fell asleep. Gibbs and Jenny are stalling them in her office now. ENGLER: (V.O.) If you've discovered the problem with the vehicle... CUT TO: INT. SHEPARD'S OFFICE - DAY ENGLER: ... we can fix it. GIBBS: It wasn't a problem. It was sabotage. ENGLER: By whom? SHEPARD: An expert in artificial intelligence. PIKE: Then it wasn't Jamie. ENGLER: It must be one of the companies we're competing against. They - they know that they can't bat us in a fair fight. PIKE: The winner of the drive-off gets the entire D.O.D. contract, Director Shepard. Not just the Navy's. SHEPARD: The Navy's banking on you, Doctor. (CELL PHONE RINGS) SHEPARD: It's why I've agreed to the Secretary's request that you visually inspect Otto. ENGLER: When?! SHEPARD: Right now if you'd like. Agent Gibbs, would you mind escorting us? MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY (MUSIC OVER ACTION/ALL WALK THROUGH THE SQUAD ROOM) CUT TO: INT. GARAGE - DAY (ELEVATOR DINGS/ DOORS OPEN) ENGLER: (bat) Where is Otto? SHEPARD: Gibbs? (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY SHEPARD: We have let a robot-kller Humvee loose on the streets of Washington! MCGEE: Uh, technically, Director, it's a second generation, fully autonomous-- SHEPARD: I don't care what it's called! Find it! Fast! ZIVA: BOLO. On it, Boss. TONY: I'll take the Beltway. MCGEE: Abby and I will see if we can access Otto's system remotely. JONES: I think I might be able to help with that. MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY MCGEE: Someone had to send Otto a remote command and navigational data. All we have to do is find it. ABBY: So we can back-trace it to our bad guy. MCGEE: If we access the vehicle, can we remotely operate it? JONES: Yeah. I've seen Roni do it before. MCGEE: How? JONES: I don't know, man. I'm just a mechanic, all right? This A.I. stuff is way out of my league. ABBY: Okay, what's your job during test runs? JONES: I monitor stuff like tire pressure, fuel injectors-- ABBY: How? JONES: I have my own program. I mean, I could try... MCGEE: Do it! JONES: All right. But even if I get in, all I can tell you is stuff like oil pressure and fuel levels. Navigation and external sensors, that's all handled by scientists. (MUSIC OVER ACTION) JONES: All right, I'm in. Now what? ABBY: Just sit back and let the scientist... MCGEE: Kick all kinds of major ass. (MUSIC OVER ACTION/ KEYBOARDING) JONES: Roni would have really liked you guys. (INTERCUT SCENE OF HUMVEE DRIVING) MCGEE: Okay, Abby. We are in sync. We're now following the same stream back into Otto as Jamie's program. (INTERCUT SCENE OF HUMVEE DRIVING) MCGEE: Jamie, what's the most complex sensory monitor with this? JONES: Uh... I'd say fuel injectors. ABBY: And when something goes wrong, do you just monitor it or is there something you can actually do? JONES: I have the ability to tweak some of the parameters to avoid engine damage. MCGEE: That's our way in. Is that program on here too? JONES: It's uh... right there. MCGEE: Great. Before we were just receiving, now we can send. Tweak something. JONES: All right, what? ABBY: It doesn't matter! I just need to follow it downstream back into Otto. JONES: Okay, um... (SFX: KEYBOARDING) JONES: How's that? ABBY: I'm in. MCGEE: I'll pull up the navigation subdirectory. ABBY: Accessing Otto's onboard GPS. MCGEE: It's stopped. ABBY: It's right off of Route One Twenty-Three in Fairfax. Go, McGee! I'll keep working on back-tracing the guy that sent him there. MUSICAL BRIDGE TO: EXT. ROAD - DAY (SFX: CARS BRAKE TO A STOP) (SFX: CAR DOORS CLOSE) ZIVA: Clear! MCGEE: They took our chip, Boss. GIBBS: (V.O.) When I told you to put this car back together, I didn't mean put it back together with the only piece of (ON CAMERA) evidence we had on the kller. MCGEE: I didn't. We put in a copy. Abby's got the original. Otto has five stereo cameras. Hoping one of them got a picture of our guy. TONY: Well, we're definitely dealing with someone on the inside. They knew where all of Otto's cameras were. MCGEE: The only picture I got is this. TONY: That thing takes worse pictures than you do, McGee. GIBBS: They went to a lot of trouble to get the chip back. Why? MCGEE: Well, like you said, it's the only evidence we have. GIBBS: They know we can link it to them. How? MCGEE: Well, there weren't any prints on the surface. The program's in assembly language. I'm not sure. (CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ABBY: (INTO PHONE) I back-traced the connection used to activate Otto. They're in Azeon's network. They're online right now. I even have the - Gibbs? Ah....don't worry, Jamie. We are going to get this guy... MUSICAL BRIDGE TO: INT. MAIN LAB - DAY PIKE: You're sure about this, Agent Gibbs? GIBBS: We sure about this, McGee? MCGEE: Well, Abby gave me the specific IP address for the computer used to access Otto. I'll know it when I find it. JONES: Which one was it? TONY: We're working on it. (SFX: COMPUTER BEEP TONES) MCGEE: Boss, IP address matches this one. PIKE: Engler! (MUSIC OVER ACTION/JONES PUNCHES ENGLER) JONES: (SHOUTS) You bastard! You klled her! ENGLER: (SHOUTS) Get him off me! JONES: (SHOUTS) What's the matter? You couldn't share the limelight? ENGLER: Why would I kll Seabrook? PIKE: You were jealous of Roni from the moment you met her. ENGLER: It's ridiculous! If anything, she was jealous of me! I demand to know what proof you have against me! GIBBS: This. ENGLER: A flash chip? TONY: It was used to kll Lieutenant Seabrook. ZIVA: The one you took from the vehicle was a copy. ENGLER: Let me... let me see the code. Everyone here has their own specific style. I can tell you with certainty who wrote that one. PIKE: As can I, Engler. May I? (SFX: COMPUTER BEEP TONES) PIKE: You're mistaken, Agent Gibbs. This chip is blank. GIBBS: Let him go. TONY: Boss? GIBBS: Let him go. He's the one who found Seabrook. If he wanted the chip back, he would have taken it before anyone got there. Doctor Pike...the only thing you erased from this chip were my photos. The real chip's in the evidence locker at NCIS. JONES: She thought of you like a father! PIKE: She was supposed to take the morning off, Jamie. It was an accident. I would never, never... GIBBS: Who was supposed to drive Otto that morning? ENGLER: Me! You... senile old fool! You were trying to kll me! PIKE: I did it for all of us. He owns half the company! When Otto wins that race, we would have been stuck working with him forever! Nobody deserves that! You smug bastard! I never should have brought you in on this! Look, he's destroying... ZIVA: If red light is for sexually asault a co-worker, what color is for m*rder? TONY: Uh, how does black light sound? ZIVA: It works for me. CUT TO: INT. SQUAD ROOM - NIGHT GIBBS: Hey. It's late. Go home. ZIVA: Just doing a little research. GIBBS: On what? ZIVA: Y. Pestis. A very nasty illness. It can cause permanent damage to the heart, lungs, and kidneys. And in some cases, patients can relapse months, or even years later. Tony had it. GIBBS: I know, Ziva. I was there. ZIVA: Did you know that he had some tests done recently. And he's been wearing a hospital bracelet on his wrist? GIBBS: Nope. ZIVA: I asked him why, but he won't tell me. GIBBS: Then he's probably got a pretty good reason. (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) CUT TO: INT. BEDROOM - NIGHT JEANNE: (BREATHLESSLY) Hi -- TONY: (BREATHLESSLY) So uh...can I take this stuff off now? JEANNE: I haven't made up my mind yet. TONY: Okay. You do know that it's for the psych ward, right? JEANNE: Oh, yeah. I picked it out special for you. (MUSIC OUT) (ENDING TITLES AND CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x11 - Driven"}	foreverdreaming
MUSIC IN: EXT. MOTEL - DAY (DOOR OPENS) (MUSIC OVER ACTION/CARMODY WALKS TO HIS CAR TRUNK) (SFX: TRUNK OPENS/CLOSES) CARMODY: Crap! (MUSIC OVER ACTION/CARMODY WALKS TO THE MOTEL OFFICE) (SFX: BUZZER) (SFX: KNOCK ON DOOR) CARMODY: Oh! You've got to be kidding me. (KNOCK ON DOOR) (MUSIC OVER ACTION/CARMODY WALKS BACK TO THE MOTEL ROOM) (SFX: KNOCK ON DOOR) CARMODY: Hello? I'm from next door. I've locked myself out. I just need you to call the front desk. Hello? (bat) Holy Mother of God!! (KNOCK ON DOOR) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "SUSPICION" (ELEVATOR DINGS/ DOORS OPEN) MCGEE: Ziva, I am not secretive. ZIVA: Did you hear that, Tony? McGee just said he's not secretive. TONY: Hmm, let's see. Wrote a novel. ZIVA: Didn't tell us. TONY: Got it published. ZIVA: Didn't tell us. TONY: Made substantial amounts of money from said novel. ZIVA: Hmm. Didn't tell us. TONY: Anything else? ZIVA: Bought a Porsche. TONY: Didn't tell us. Can you see how some people might begin to think there was a pattern of secretive behavior emerging here, Probie? MCGEE: Okay, look, I might have been hiding stuff, but it was not secretive. It was just... ZIVA: Deceptive? TONY: Sneaky? MCGEE: Self-preservation. If I told you guys I was writing a novel, you would have laughed at me. TONY: True. ZIVA: True. MCGEE: Besides, everyone has secrets. I'll bet you two have some doozies. TONY: No. ZIVA: (GASPS) Ha! TONY: Ha? What ha. I said no. ZIVA: You said no too quickly. MCGEE: He did, didn't he? ZIVA: What dark, dirty little secrets do you have that are making you so uncomfortable? (bat) Does she have a name? RAINES: (V.O.) Lieutenant Rana Shaheen. CUT TO: INT. MTAC - DAY RAINES: (ON MONITOR) Her death is a real loss to the Marines. GIBBS: Marines Corps Intelligence. RAINES: (ON MONITOR) Three years. I've personally known her for two. She's an interpreter. Born in Kuwait, emigrated when she was a kid. GIBBS: Working anything sensitive? RAINES: (ON MONITOR) Just routine, nothing classified since we got back from Iraq. Ironic, isn't it? GIBBS: You last saw her Friday? RAINES: (ON MONITOR) She said she was going to the country for the weekend. Didn't say where. I got the impression she was going to meet someone. MCGEE: (V.O.) Edenvale? CUT TO: INT. SQUAD ROOM - DAY MCGEE: Where the hell is Edenvale? TONY: Keep scrolling, Probie. MCGEE: I'm scrolling. I'm telling you, I can't find it. TONY: (V.O.) It's not on the map. MCGEE: Boondocks. TONY: Boondocks, Boss. GIBBS: Pack a toothbrush. ZIVA: What are boondocks? TONY: (SINGS) Da-da-da da da da da da da. MCGEE: (SINGS) Da-da-da da da da da da da. TONY: (SINGS) Da-da-da da da da da da da. MCGEE: (SINGS) Da-da-da da da da da da da. TONY: (SINGS) Da da da da da da da da... MCGEE: (SINGS) Da-da-da da da da da da da. (SFX: TONY AND MCGEE SING IN UNISON) MUSICAL BRIDGE TO: EXT. ROAD - DAY (ACTION OVER TONY AND MCGEE SINGING) MUSICAL BRIDGE TO: EXT. SHERIFF'S DEPARTMENT BARRETT: We don't get a lot of mrder out here in Edenvale, Agent Gibbs. It's got the whole town talking. Well, y'all want to come inside. I've set up the conference room for you. GIBBS: Crime scene first, Sheriff. BARRETT: That would be the Edenvale Motel - U.S. Twenty-Nine. Ten minute drive. Not much to see up there, though. DUCKY: Except the crime scene. BARRETT: Well, yeah. Room eight. sht twice in the chest. Bled out under the door. DUCKY: Sheriff, the sooner we get to work on the body, the sooner we'll be out of your way. BARRETT: You want to work on the body? DUCKY: Preliminary examination. I'll do the autopsy back in D.C. BARRETT: Agent Gibbs, I think we have what you might call a breakdown in communications. MUSICAL BRIDGE TO: INT. FUNERAL HOME - DAY (DOOR OPENS) BARRETT: She was found three days ago. Booked in under a false name. Paid cash. No pocketbook, no driver's license, no vehicle. Took the best part of two days to get her prints up to Washington and processed. Soon as we found out she was a Marine, we called you. By that time, Harry had done the autopsy. Harry Lawson. Coroner. He's a good man. GIBBS: Well, I'll bet he is. BARRETT: Well, he's also the funeral director and owns the furniture store. Old country tradition. ZIVA: What about the crime scene, Sheriff? BARRETT: Well, turned back to the motel. TONY: Cleaned up? BARRETT: And I'm guessing already occupied. GIBBS: Evidence? BARRETT: Oh, yeah. Got plenty of that. You'll want to talk to Ruby CUT TO: INT. POLICE LAB - DAY . RUBY: (V.O.) If it was loose, I bagged it. (ON CAMERA) The hairs, fibers, shell casing, gum wrappers, used tissues, even an old French fry the cleaning lady must have missed. It was right up under the headboard... anybody would have missed it. Um... everything's been tagged, numbered, indexed and photographed. I did the indexing by hand on account of the printer not working. TONY: Blood samples? RUBY: I took multiples, sent some to the lab, kept the rest as backup. (SFX: MCGEE DROPS THE LENS) MCGEE: Oh! Oh, sorry. My fault. RUBY: It does that all the time. Well, that's everything. Um... except one teeny, tiny little thing. She was sht twice, but I could only find one shell casing. ZIVA: Maybe he picked up. RUBY: Yeah, maybe. GIBBS: You said you had an office we could use? CUT TO: INT. OFFICE - DAY BARRETT: Here you go. Home sweet home. I'll stir up some coffee for you. Oh, we do have a suspect. GIBBS: When were you going to tell me that? BARRETT: Well, I'm telling you now. (V.O.) Tyler? TYLER: Yeah? BARRETT: Bring me that suspect's file, would you? The victim made one phone call from the motel. Local guy by the name of Masoud Tariq. Only been in town a few months. He's an I-raqi. TYLER: Same as the victim. ZIVA: She's from Kuwait, actually. TYLER: And where are you from? ZIVA: The city. BARRETT: Well, unfortunately, this guy Masoud Tariq, he's disappeared. So I got a search warrant. We found her lipstick in his living room. Ruby got a fingerprint match. Now, we've got a BOLO out for him, but he's got a couple days start. TYLER: When he comes back, we'll catch him. BARRETT: If you need anything else, you just holler. (DOOR CLOSES) MCGEE: You see their nameplates? Both Barretts. ZIVA: Brothers? MCGEE: Cousins? TONY: Boondocks. DUCKY: I'll take the body back to D.C., Jethro. But I'm afraid we're going to have to rely on this autopsy report. MCGEE: You can't do another one? DUCKY: Well, if I think it's necessary. But there will be so much missing that you can't get back. Blood patterns, position of the body, and of course you'll be missing all the usual pieces that have gone off for testing. ZIVA: She comes down from D.C. for the weekend, books into a motel under a false name. Pays cash and calls a man. MCGEE: Jealous spouse? ZIVA: She's not married. TONY: Neither was he. Moved here six months ago. ZIVA: Which is about the time Lieutenant Shaheen got back from Iraq. TONY: Nice timing. GIBBS: Dinozzo, ride back with Ducky. Talk to Lieutenant Shaheen's Commanding Officer. Find out what she was working on in Iraq. TONY: Okay, back to the big city suits me, boss. I got the Boondock Blues already. GIBBS: McGee. MCGEE: Boss. GIBBS: Crime scene. Take that forensic woman with you. MCGEE: Ruby. GIBBS: Ruby. Yeah. Ruby. Check her methodology. See what she missed. MCGEE: Maybe she didn't miss anything. (bat) Right. GIBBS: What do you need, Duck? DUCKY: Just the body. GIBBS: That leaves you and me with Masoud Tariq. CUT TO: EXT. HOUSE - DAY (SFX: CAR BRAKES TO A STOP) (SFX: CAR DOORS OPEN) ZIVA: Sleepy. GIBBS: Not quite. BARRETT: That's Daryl Hardy. The sort of nosey neighbor gives small towns a bad name. Thinks Tariq is a trror1st. Like a trror1st would ever come live in a little town like ours. ZIVA: He file complaints? BARRETT: Nothing ever amounted to anything. Just spread a lot of bad feelings among people, is all. Tariq kept out of trouble. Paid his bills. Obeyed the law. At least up until now. ZIVA: We're being watched. GIBBS: That kind of town. MUSICAL BRIDGE TO: INT. GARAGE - DAY (SFX: GARAGE DOOR ROLLS UP) GIBBS: Lacking a woman's touch? ZIVA: I wouldn't know. (DOOR OPENS/ CLOSES) (MUSIC OVER ACTION/ZIVA PHOTOGRAPHS WORKBENCH) TYLER: Want to take mine? You know, I didn't mean anything by what I said earlier. ZIVA: Yes, you did. TYLER: You find something? ZIVA: The sooner you leave me alone, the sooner I'll know. TYLER: Well, I guess the photo can wait, huh? (MUSIC OVER ACTION/ZIVA SWABS THE GARAGE FLOOR) (SFX: AEROSOL SPRAY) ZIVA: Gibbs? I think someone's been making modifications. GIBBS: Diesel fuel? ZIVA: And a positive indicator of nitrates. Probably ammonium nitrate. Mixed with diesel oil and all you have to do is add a detonator and a cell phone if you want to set it off remotely. I think we just found ourselves a bmb factory. (CUT TO BLACK) MUSIC IN: EXT. STREET - DAY ZIVA: I thought the local constabulary searched the house? GIBBS: Not for a bmb factory. ZIVA: Hard to miss. Maybe the neighbors were more observant. (MUSIC OVER ACTION/GIBBS WALKS TO DARYL'S PORCH) DARYL: You from Washington? GIBBS: Special Agent Gibbs. NCIS. DARYL: NCIS. That like the F.B.I.? GIBBS: Navy and Marine's version. DARYL: It's about time. You found something. GIBBS: Maybe. DARYL: Mm-hmm. I knew it. Sheriff didn't want to know. No one did. It's one of them sleeper cells they warn us about on the news, ain't it? GIBBS: What makes you think that? DARYL: I don't think it. I know it. Wait there. (SFX: SCREEN DOOR OPENS/ CLOSES/OPENS) DARYL: Waste of time giving it to that son-of-a-B. Here. Good luck. (DOOR OPENS/ CLOSES) CUT TO: EXT. STREET - DAY ZIVA: Nice neighbor? GIBBS: He thinks he uncovered a sleeper cell. ZIVA: Does he have proof? GIBBS: Maybe. Send it to Abby. CUT TO: INT. ABBY'S LAB - DAY TONY: (V.O.) What's your biggest secret? Shock me. ABBY: When I was eleven years old, I had a paper route. And I got sick of it. So I hid all the papers, and then I only delivered wet ones to people that complained. TONY: That was you? No, I mean like a certain Probie who secretly wrote a not-so-secret bestseller. ABBY: Oh, you mean like a MOAS. Like a mother-of-all secrets. TONY: Yeah. ABBY: Everybody has one. I'm not going to tell you mine. What's yours? TONY: Ha! Nice try. I'm sitting on my MOAS. ABBY: I thought there was only one sh*t. TONY: Said to the Boondock Probie. ABBY: They look markedly different. TONY: Maybe she was wrong. ABBY: Well, I'll find out soon enough. TONY: How do you live with the mother-of-all secrets? ABBY: You don't. I mean, it consumes you. It eats you like a cancer from the inside. First there's the guilt. And then there's the excruciating urge to blab your secret, although you know that it's going to spell your doom. Have you gotten to that stage yet? TONY: (LAUGHS) No! This is a hypothetical situation we're talking about. ABBY: Still in the guilt stage huh? And then, you know, eventually you can't take it anymore. It drives you insane. So you blab your secret to your best friend or your mother or your lover... and it sets you free. TONY: It does? ABBY: Yeah. Of course, you lose all your friends and your family, maybe even your job, depending on what the secret is, but yeah. TONY: Great. (SFX: BEEP TONES) ABBY: Masoud Tariq has another name. Wasim Al Fulani. Ooh, this is bad. He was in the Republican Guard. TONY: Yeah, it's a long way from Baghdad to Edenvale. (SIGHS) I hate giving Gibbs bad news. CUT TO: INT. GARAGE - DAY GIBBS: (INTO PHONE) Yeah, got it. TONY: (V.O./FILTERED) He dropped off the planet like two years ago, Boss. GIBBS: (INTO PHONE) Ziva just sent over photos of two men with Tariq, both Middle Eastern. Same deal. (SFX: CLOSES CELL PHONE) GIBBS: Masoud Tariq is an alias. His real name is Wasim Al Fulani, forMER Captain of the Republican Guard. Disappeared off the radar two years ago. ZIVA: Hmm. We know where he's been for the past six months. Just need to figure out where he is now. GIBBS: Yeah. And whether he packed a bag. CUT TO: EXT. MOTEL - DAY RUBY: (INTO PHONE) Okay, thanks for the bad news. Yeah, 'bye. (TO MCGEE) They found explsive residue in Tariq's garage. MCGEE: Well, that's not good. RUBY: Yeah. I dusted for prints in that garage. MCGEE: Well, sometimes we miss things. RUBY: Like that second shell casing we still can't find, and probably never will? This is my first. MCGEE: First? RUBY: mrder. I've only ever done break-ins and stolen cars. We get a lot of stolen cars in Edenvale. MCGEE: I bet. RUBY: I was so excited. My first mrder. I mean, it's sad and everything, but... MCGEE: It's okay to be excited. Helps us do our job. RUBY: Well, it sure didn't help me, did it? MCGEE: Look, you might have missed something, okay? But next time you might see something that someone else doesn't. And they might see something that you don't. You can't do it all. You can't be right every time, Ruby. RUBY: I'd settle for just once. (DOOR CLOSES) (SFX: VAN ENGINE STARTS) CUT TO: EXT. PARKING LOT - NIGHT (SFX: TONY CHUCKLES) JEANNE: I never thought I'd see a grown man so happy to break a hundred. TONY: This coming from the girl who rolled an eighty-six. JEANNE: Eighty-nine. TONY: Whatever. Competitive. I like it. I have a question to ask you. JEANNE: Yeah? TONY: What are the chances of my sneaking you away for a little dinner? JEANNE: Two of the interns called in sick. So... TONY: Ooh. That's not good. Well, you look cold and we can't have you getting sick. JEANNE: Hmm. TONY: It's a little chilly. And it's a good thing that I am prepared. (SFX: TONY SETS UP THE CHAIR) TONY: Signorina. JEANNE: What are you doing? (MUSIC OVER ACTION) TONY: It's easier than it looks. JEANNE: Yeah, okay. TONY: This is not a sundial. (SFX: TONY SINGS) TONY: Here we go. JEANNE: What is all this? TONY: Oh, this, Miss Benoit, is a penne a la DiNardo. JEANNE: I don't know what to say. TONY: Well, you could either say grazie, you're a god among men, a prince among thieves. JEANNE: This is like a scene from an old movie. Wait a second. Is this a scene from an old movie? TONY: Ah, well that really depends. JEANNE: On? TONY: Have you ever seen a movie called "Strangers in the Night" with Cary Grant? JEANNE: I don't think so. TONY: Then, no. This is a completely original idea that I came up with all by myself. (JEANNE LAUGHS) CUT TO: INT. BALLISTICS LAB - DAY (MUSIC B.G.) (SFX: gn) (MUSIC OVER ACTION/ABBY TESTS BALLISTICS) ABBY: That's not even close, Abigail. CUT TO: EXT. MOTEL - DAY ZIVA: Shalom! GIBBS: 'Morning. ZIVA: Did you brew that in your room? GIBBS: Yep. ZIVA: You know, it's not even real coffee. GIBBS: It's coffee. ZIVA: I read the label. Roasted chicory, whatever that is. GIBBS: It's a flower. It's got a taproot like a dandelion. Dried and roasted makes for a cheap coffee substitute. ZIVA: Well, that's what you're drinking. Cheap motel coffee substitute. GIBBS: That smell like a cheap coffee substitute? ZIVA: Well, you brew it in your room. GIBBS: Well, yes, I did. With my own grind, that I brought from home. ZIVA: You bring your own coffee grind on investigations? GIBBS: Only on overnighters. (SFX: CAR DOORS OPEN/ CLOSE) CUT TO: INT. CAR - DAY ZIVA: Did you hear from Tony last night? GIBBS: No. ZIVA: How about this morning? (bat) The only reason I'm asking is because I called him last night to update him, and he didn't pick up the phone. He didn't answer this morning either. GIBBS: Ah. You two got married and didn't tell me. ZIVA: No! I know this may sound a bit strange, coming from me, but... GIBBS: More than a bit, Ziva. ZIVA: He's my partner, and I-- GIBBS: Yeah, okay. So? ZIVA: So you sent him back for other reasons, than to question Lieutenant Shaheen's commanding officer. GIBBS: Did I miss the announcement? ZIVA: No, I was not named Director of NCIS. GIBBS: I was thinking more like Secretary of the Navy, because the Director of NCIS would know damn well not to ask me such a stupid question! ZIVA: Look, Tony's been very secretive lately, and for a man who can't keep what he had for breakfast a secret, I think it's scary. GIBBS: What's scary is your persistence. ZIVA: Sorry! (SFX: CAR ENGINE STARTS) ZIVA: So the only reason you sent him back was what you said-- (SFX: CAR ACCELERATES/ CAR TIRES SCREECH) ZIVA: Ow! CUT TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN/ CLOSED) ABBY: Can I talk bllts? DUCKY: No, you can't. But you can listen to me talk bllts. Now, the first bllet, bllet A.... yeah, that's it. It penetrated the body here, just below the rib cage. All soft tissue, no bone. And once it punched through the skin, it stopped. No kinetic energy. Unlike bllet B, here... that's the little devil, which according to this, punched right through the sternum, gouged its way through the heart muscle, took a chip out of the eighth thoracic vertebrae, and finally sputtered to a stop in Lieutenant Shaheen's right latissimus dorsi. In other words, it did exactly what it was designed to do in all its brutal efficiency. Which begs the question, Abby... ABBY: How were they fired from the same wapon? DUCKY: Yeah. One high velocity, one low velocity. I was thinking, could it be a ricochet? ABBY: No. There were no layer deposits on the slug, so it didn't ht anything. DUCKY: Ah. ABBY: And their weight and lead composition's the same, but it's almost as if... DUCKY: It was fired from another wapon. And if it was a revolver, that would explain finding only one casing. ABBY: Two wapon means two sht, Duck. I don't think Gibbs is going to appreciate me doubling his work load. MUSICAL BRIDGE TO: EXT. MOTEL - DAY (SFX: CAR BRAKES TO A STOP) (SFX: CAR DOORS OPEN/CLOSE) BARRETT: 'Mornin'. So are you going to call him, or will I? The F.B.I. I'm beginning to think Daryl Hardy was right after all. GIBBS: Still NCIS jurisdiction. BARRETT: Mm-hmm. Until he sets off a bmb in the local mall. That'd be a good time for it to be under someone else's jurisdiction, wouldn't you say? (SFX: CAR BRAKES TO A STOP) BARRETT: That's him! That's Tariq! (SHOUTS) Stop right there! (SFX: CAR TIRES SPIN) (SFX: gn) GIBBS: (SHOUTS) Cease fre! Hey! Cease fre! Put it down! ZIVA: (SHOUTS/OVERLAP) Hey! (MUSIC OVER ACTION/ALL RUN TO THE TRUCK) (MASOUD GASPS) (MUSIC UP AND OUT) FADE IN: INT. HOSPITAL WAITING ROOM - DAY (MCGEE WALKS THROUGH THE WAITING ROOM) CUT TO: INT. ER CUBICLE - DAY (SFX: VOICE OVER LOUDSPEAKER B.G.) MCGEE: Hey. It's a circus out there. Every deputy in the county is either in the ER, the building, or the parking lot. ZIVA: Everyone loves a shting. Except the sht. Is that a word? MCGEE: Sounds like a word. Do you want a spell? ZIVA: (SPELLS) S-h-o-o-t-e-e. MCGEE: No, no. Spell as in rest. ZIVA: Oh, no, thank you. GIBBS: Hey. They're going to hold him here for a couple hours. Then we're moving him back to D.C. Check his clothes, and the pick-up for explsive residue. MCGEE: I can get Ruby to help. (bat) Or not. (GIBBS CLOSES THE CURTAIN) MASOUD: Did you sht me? GIBBS: No. MASOUD: Did she? ZIVA: No! MASOUD: Sheriff Barrett? GIBBS: Possibly. MASOUD: His brother? ZIVA: Probably. GIBBS: Why'd you run? MASOUD: In Baghdad, when you see men with gn, you go the other way. It's what you do. You all seemed very eager to sh*t me. GIBBS: You were armed. MASOUD: You couldn't see it. And it was unloaded. ZIVA: Where have you been for the past four days? MASOUD: Deer hunting. GIBBS: Rana Shaheen was sht dad over the weekend. ZIVA: Right after she came to see you in your house. MASOUD: Of course. That means that I must be a mrder. At least in this town. I'm curious, what else are they accusing me of? GIBBS: We found traces of explsives in your garage. MASOUD: So now I'm the monster that scares them at night. Al Qaeda come to kll them. Do you believe this? GIBBS: I don't know what to believe, Wasim Al Fulani. MUSICAL BRIDGE TO: INT. LAB - DAY (SFX: PHONE RINGS) ABBY: (INTO PHONE) Lab!(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) Give me some good news, Abby. (SCENE CUT) ABBY: (INTO PHONE) I'm not pregnant. (SCENE CUT) GIBBS: (INTO PHONE) Too much information. (SCENE CUT) ABBY: (INTO PHONE) Kidding. I mean, not that there's anything wrong with being pregnant. I love kids. (SCENE CUT) ABBY: (V.O./FILTERED) It doesn't mean I'm trying, you know. And even if I... (SCENE CUT) ABBY: (INTO PHONE) ... trying, that doesn't mean that I know anybody I would want to try with. Am I being trying, Gibbs? (SCENE CUT) GIBBS: (INTO PHONE) Affirmative. ABBY: (V.O./FILTERED) My guess is that you want to know about the two guys in the photos. GIBBS: (INTO PHONE) Well, that's a good guess, Abby. (SCENE CUT) ABBY: (INTO PHONE) Well, don't hold your breath. They are three quarter profiles, no full face. Not really good for a match off. I think we're out of luck. (SCENE CUT) GIBBS: (INTO PHONE) Evidence turning up anything? (SCENE CUT) ABBY: (INTO PHONE) Um... I'm beginning to think that she was sht with two different wapon. They're both nine mils, but I can't match the slugs. And Ducky said they ht the body at two different velocities. Like really different. Like the difference between a Howitzer and a BB gn. Maybe not that different, but Ducky's really puzzled about it, too. (SCENE CUT) GIBBS: (INTO PHONE) Are you telling me there are two different sh*t? ABBY: (V.O./FILTERED) Maybe. (SCENE CUT) ABBY: (INTO PHONE) Or maybe not. You know, I haven't figured it out yet. (SCENE CUT) GIBBS: (INTO PHONE) When you do, Abs... (SCENE CUT) ABBY: (INTO PHONE) You will be the first to know. Actually, technically you'll be the second know, because I'm doing the testing. But you will be the second to know. Gibbs? (SFX: DIAL TONE B.G.) RAINES: (ON MONITOR) We don't normally open these files to just anyone. CUT TO: INT. MTAC - DAY TONY: Well, I guess NCIS isn't just anyone. RAINES: (ON MONITOR) Lieutenant Shaheen had a certain amount of autonomy, Agent DiNozzo. TONY: Sounds like a Marine covering his butt. RAINES: (ON MONITOR) Marine officers don't cover their butts. I've uploaded the files on the work we did in Iraq. Code name was Operation Cauldron. TONY: Classification? RAINES: (ON MONITOR) Top secret, strictly a need-to-know basis. Lieutenant Shaheen was one of the best I had. You find who did this. TONY: Working on it. MUSICAL BRIDGE TO: INT. RUBY'S LAB - DAY MCGEE: Do you have any more indicator spray? RUBY: I hope this doesn't count as helping you. I'd hate to get you in trouble. MCGEE: Thanks. RUBY: I'll bet he didn't even read my evidence report. Did you read my evidence report? MCGEE: Sorry. Not yet. RUBY: Not ever. MCGEE: I promise I will read your evidence report. RUBY: Oh, what? And grade me? MCGEE: Look, I'm sorry that you're not allowed to help me. It's just... RUBY: He doesn't trust me. MCGEE: Well, see, he would if he got to know you. It's just um... he's hard to get to know. RUBY: Make sure you do inside his trouser pockets. People put their hands in their pockets to get their keys, and the explsive residue rubs off. MCGEE: I'm going to read your evidence report. I promise. (RUBY WALKS O.S.) MUSICAL BRIDGE TO: INT. CONFERENCE ROOM - DAY (PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) TONY: (V.O./FILTERED) Hey, Boss. (SCENE CUT) TONY: (INTO PHONE) Lieutenant Shaheen worked on Operation Cauldron in Iraq. In return for high quality intel about trror1st bmb, Uncle Sam relocated informants to the U.S. Kind of a... (SCENE CUT) TONY: (V.O./FILTERED) ... witness relocation deal for born-again bad guys. (SCENE CUT) TONY: (INTO PHONE) Anyway, Wasim Al Fulani was one of them. Relocated here six months ago. New name, passport - whole nine yards. (SCENE CUT) GIBBS: (INTO PHONE) Lieutenant Shaheen was his case officer. TONY: (V.O./FILTERED) Yeah. (SCENE CUT) TONY: (INTO PHONE) And there's something else. Two other guys relocated at the same time. But their computer files have been... (SCENE CUT) TONY: (V.O./FILTERED) ...deleted. GIBBS: (INTO PHONE) Hard copies? (SCENE CUT) TONY: (INTO PHONE) Both unaccounted for. The last person to sign them out was Lieutenant Shaheen, and you'll never guess when? (SCENE CUT) GIBBS: (INTO PHONE) The day she went to Edenvale. (SCENE CUT) TONY: (INTO PHONE) You guessed.(END TELEPHONE INTERCUTS) CUT TO: INT. ER ROOM - DAY MASOUD: You're a Jew. ZIVA: Yes. MASOUD: Israeli? (bat) Mossad then. ZIVA: I'm working with NCIS. MASOUD: So yes. So now I am as suspicious of you, as you are of me. Is it always going to be this way? ZIVA: At least in our lifetime. (SFX: CURTAIN OPENS) TYLER: Mmm. Cozy. ZIVA: Can I help you? TYLER: You know, a couple more inches to your right and our martyr here could have been living it up with all those vestal virgins. You know, it truly is a screwed up religion where you have to blow yourself up just to get lucky. (SFX: ZIVA GRABS TYLER) (SFX: TYLER GASPS) ZIVA: When you insult his religion, you insult mine and your own. Tell him you're sorry. TYLER: I'm sorry. (GASPS) Ah! ZIVA: I don't think he heard you. TYLER: I'm sorry. MASOUD: Apology accepted. (SFX: TYLER GASPS) GIBBS: Is there a problem? ZIVA: I was telling the Deputy here where the bathroom was. (TYLER WALKS O.S.) GIBBS: I know about Operation Cauldron. MASOUD: Good. Then you know that I'm not in your country illegally. GIBBS: Lieutenant Shaheen was your case officer. MASOUD: Yes. She was the only American I ever met whom I trusted. ZIVA: So you kept in touch with her? MASOUD: No. It is forbidden. I gave them information, they gave me a new life. GIBBS: She came to visit you. MASOUD: I did not invite her. ZIVA: Why did she come? An unmarried woman visiting a Muslim man's home? MASOUD: No, it was not for that. ZIVA: So you were disappointed, and that's why you followed her back to the motel. MASOUD: No. GIBBS: Maybe she saw something in your garage you didn't want her to see. MASOUD: A bmb perhaps, Agent Gibbs? GIBBS: explsives. Somebody put them there. MASOUD: Not me. Why don't you go talk to Mister Hardy, my good neighbor? Maybe he put them there or saw who did. My wife and daughter were klled buying fruit in a Baghdad market, Agent Gibbs. I've seen enough bmb. That's why I did what I did. That's why I left. (SFX: CURTAIN OPENS) MCGEE: Boss, you got a minute? (SFX: CURTAIN CLOSES) MCGEE: I found something. GIBBS: It doesn't look like an explsive residue, McGee. MCGEE: Well, it's Ruby's. She uses a red fluorescent powder to dust for prints. GIBBS: So? MCGEE: So we don't. The only way this could have gotten on the back of the cell phone is if it was planted after she dusted for prints. Someone set him up, Boss. CUT TO: INT. SQUAD ROOM - DAY BARRETT: I don't like what you're getting at, Agent Gibbs. GIBBS: Do you have a better explanation? BARRETT: People like living here. They go to church on Sundays and they obey the law. Mostly. And they believe every person, even a stranger, is guilty until proven innocent. GIBBS: You mean innocent until proven guilty. BARRETT: Yeah, well that's the way it used to be. GIBBS: Before Masoud arrived? BARRETT: Before everyone got so damn scared. GIBBS: Well then you know why I asked the question. BARRETT: Sit. Look, half the town would have planted those explsives just to get rid of Masoud. GIBBS: Half the town didn't have a key to his house. BARRETT: The house was leased. GIBBS: The owner? BARRETT: Martha Hollingway. Eighty-four years old. Unlikely. GIBBS: Who else had access to it? BARRETT: Oh, my Lord. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM TYLER: You think I klled her? GIBBS: Did you? TYLER: I was the radio officer the night she was mrder. I didn't leave the comms room the whole night. Tell them, Tom. BARRETT: It's true. TYLER: You big-time Washington D.C. guys, you blow in here so smart. Think you got all the answers. You don't know squat about this town. GIBBS: Educate us. TYLER: Everyone knows he did it. Nobody's trusted this guy since the moment he got here. She was at his house! Maybe they were getting it on, they had a fight. Who knows? Or maybe... maybe she figured out what he was really up to. GIBBS: Making bmb? TYLER: Didn't surprise me. Our country is at wr! Alert Level Orange in case you happened to not notice. We are told to keep an eye on people who are behaving suspiciously. I was doing my job. I told you we needed to keep a better eye on that Iraqi. You never listened to me. GIBBS: Is that why you planted the explsives? TYLER: I didn't plant any explsives. GIBBS: McGee. MCGEE: Deputy, please take off your trousers. TYLER: You know what? Screw you, McGee. BARRETT: Tyler... GIBBS: If you prefer, I can get Officer David to take them off for you. (PASSAGE OF TIME) (MUSIC OVER ACTION/MCGEE SORTS THROUGH TYLER'S POCKETS/ PERFORMS TEST) MCGEE: I guess that's not your favorite color. TYLER: I was just getting him before he got us. GIBBS: It's too bad you weren't getting Lieutenant Shaheen's kller. (MUSIC UP AND OUT) MUSIC IN: INT. INTERROGATION ROOM TYLER: Tom, this is outrageous! I've just been humiliated right here in front of everybody. BARRETT: I understand. It's not about that. That's the least of your problems. ZIVA: The doctors released Masoud. He's in the car. GIBBS: Hey, McGee. MCGEE: Ready to roll, Boss. (TO RUBY) Hey. RUBY: Hi. Uh, you're leaving? MCGEE: Yeah. Back to D.C. Thank you for your help. RUBY: Yeah, some help I was. MCGEE: No, no, no. You were. Honestly. We found some bmb residue on the Deputy's pants. Same pocket where he keeps his keys. Um... I have your report. I will read it. I promise. RUBY: 'Bye, McGee. MCGEE: 'Bye. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY TONY: (INTO PHONE) Well, no one could ride, Blackie. He was a warm blood. Stood eighteen hands at the withers. I don't know what I measure at the withers. We can measure me tonight. What time do you get off? (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) TONY: (INTO PHONE) Um... I've got to go. I'll see you then. Do you have a tape measure at your place? Good. MCGEE: Hey. GIBBS: Hey. You taking calls again? TONY: I never stopped, Boss. Why? Did I miss your call? GIBBS: No, not mine. What'd you find out about Masoud? TONY: This guy was good, Boss. Gave the Marines some hard intel. IED factories, wapon cashes, and the names of more than fifty bad boys. He deserves a medal. MCGEE: He got a U.S. passport instead. GIBBS: What about the other two who relocated with him? TONY: Yeah, low-level stuff, mostly. Nothing to get excited about. A couple of names. wapon cache. But good ol' Uncle Sam gave them both passports anyway. ZIVA: He's ready, Gibbs. GIBBS: Dinozzo, run these plates. TONY: Sure thing, Boss. ZIVA: Why didn't you answer my calls? TONY: Gibbs just asked me that. I think I had it on silent. ZIVA: Your other phone is never on silent. Hmm. TONY: Don't tell me, Probie. Let me guess. Research for the next book? MCGEE: No, it's Ruby's evidence report. TONY: Ah. Another work of fiction then. MCGEE: If it is, she's a better writer than I am. TONY: Probie, I have a pimple on my left buttock that is a better writer than you are. RUBY: (V.O./FILTERED) Hello? MCGEE: (INTO PHONE) Ruby, it's McGee. You need to get to Washington. RUBY: (V.O./FILTERED) I do? When? MCGEE: (INTO PHONE) Now. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM GIBBS: Why did Lieutenant Shaheen come to you? MASOUD: She was investigating someone. GIBBS: Who? MASOUD: Two Iraqi men who relocated with me. I didn't meet them until I left Baghdad. They were on the same flight. GIBBS: When did you last see them? MASOUD: Lieutenant Shaheen asked me precisely the same question. Edenvale two weeks ago. GIBBS: Is this them? MASOUD: Yes. They were very nervous. They wanted to know what information I passed on to the Marines in Baghdad. ZIVA: You told them? MASOUD: No, I lied. I told them I gave them bad information. They believed me. They said they had passed on bad information, too. GIBBS: Why did you lie? MASOUD: Because I trust no one, Agent Gibbs. ZIVA: Why was Lieutenant Shaheen investigating them? MASOUD: She wouldn't tell me. GIBBS: Names. MASOUD: I don't know. Did these men kll Lieutenant Shaheen, Agent Gibbs? CUT TO: INT. SQUAD ROOM - DAY TONY: (INTO PHONE) Yeah, I got it. Thanks. (TO GIBBS) Hey, Major Raines gave us their names, Boss. Asad Al Qutaji and Youssef Zidan. They're sharing a house in Washington. No record of employment since they arrived. ZIVA: Abby thinks there could have been two sh*t. GIBBS: Get Major Raines in here. TONY: Already on his way. (PHONE RINGS) MCGEE: (INTO PHONE) McGee. ABBY: (V.O./FILTERED) Get down here...... bllts. MCGEE: (INTO PHONE) Thanks. (TO GIBBS) Boss, I think there's something you need to see. (SFX: ELEVATOR DINGS) CUT TO: INT. HALLWAY - DAY MCGEE: It was in her report, only no one read it.(SFX: ELEVATOR DOORS OPEN) GIBBS: What report? MCGEE: Ruby's report. She just got here. Hey Ruby. RUBY: Hi, Agent Gibbs. MCGEE: Ah, bear with us here for a second. ABBY: You're going to love this, Gibbs. MCGEE: Ready? RUBY: Okay. So the sht casing I collected from the crime scene had quite a lot of undischarged powder in it. It was all kind of clogged inside. So I did a test. This is the same amount of powder found in a normal nine-millimeter shell. (SFX: MUFFLED explsin) RUBY: And this is similar to the powder I found in our shell casing. A bit like my last boyfriend. The powder was degraded by some type of oil. The first round didn't even leave the barrel, so he fired again. The second round ht the first, and they both left the barrel in tandem. ABBY: Which is why the first round was at low velocity, and the second round was all mashed up and unrecognizable. I'm surprised the barrel didn't rupture. RUBY: Maybe it did. MCGEE: Not two wapon, boss, just one. RUBY: One wapon. One sht. GIBBS: That's good work. (V.O.) Tell Dinozzo I'll need another search warrant. CUT TO: INT. CONFERENCE ROOM - DAY RAINES: Agent Gibbs. GIBBS: Oh, thanks for coming, Major. Have a seat. RAINES: I came down to give you what I could. Their files are missing. GIBBS: Oh, I know where they are. RAINES: You do? GIBBS: Lieutenant Shaheen's briefcase. RAINES: You found it? GIBBS: Not yet. RAINES: Bad luck. GIBBS: Not for you. RAINES: I'm sorry? TONY: Operation Cauldron relocated three Iraqi men from Baghdad to the United States after they supplied intelligence on the insurgency in Baghdad. RAINES: That's right. ZIVA: Masoud Tariq gave you first class intelligence. In comparison, the other ones gave you far less, Major Raines. But they still came to America. RAINES: Lieutenant Shaheen... GIBBS: Wasn't investigating them. She was investigating you. How much did they pay you for the new life in America? RAINES: I don't know what you're talking about, Agent Gibbs. ZIVA: For an intelligence officer, you're not very intelligent. GIBBS: What's your license plate number? RAINES: I drive a Pentagon car. ZIVA: Kilo-echo-four-seven-one-three-nine. TONY: You signed it out last Friday. GIBBS: Masoud had suspicious neighbors looking for trrorists. He found you. ZIVA: You followed Lieutenant Shaheen, parked the car down the street and waited while she met Masoud. Not very smart. GIBBS: Neither was klling her. RAINES: All right, so I followed her because it was me investigating her. She's the one who got paid off. I didn't say anything because I didn't want her name ruined after she was dad. GIBBS: Take off your gloves. RAINES: What? ZIVA: Gloves, off! (MUSIC OVER ACTION/RAINES TAKES OFF THE GLOVE) RAINES: I had a minor accident over the weekend. GIBBS: The barrel on your wapon exploded. ZIVA: Guess you tossed it in the river. GIBBS: You should have tossed your amo, too. (bat) McGee. MCGEE: Found them in Major Raines' garage, Boss. Served the warrant to his wife. TONY: I hate it when that happens. ZIVA: What's that? Sump oil? MCGEE: Oh, I'm sure we'll be able to tell you exactly after we match it to the casing found at the mrder scene. GIBBS: How much. (SHOUTS) Hey!! How much? RAINES: Half a million. Lieutenant Shaheen always suspected. ZIVA: It could have been anyone. Criminals, insurgents, Al Qaeda. RAINES: You think I didn't check them out? They were just a couple of rich kids who wanted to get the hell out of there and come party in America. Just rich kids, that's all. ZIVA: Pity Lieutenant Shaheen had to pay the price. CUT TO: INT. CAR - DAY (SFX: CAR BRAKES TO A STOP) ZIVA: Uh, Gibbs, about this morning. GIBBS: Oh, come on. Are you starting this again? ZIVA: It's my Mossad training. They drummed it into us. Push, push, push, push, push, push, push. Never give up until you get to the truth. GIBBS: Or get your ass kicked. ZIVA: Or get your ass kicked. I thought you sent Tony back because of his um... illness. GIBBS: His illness? ZIVA: He has two cell phones. Makes furtive calls to hospital. Goes missing for hours. Always lies about where he's been. I mean, he doesn't even talk about women anymore. The only logical explanation is that he's receiving outpatient treatment for a serious medical problem. GIBBS: That's not the only explanation. (LONG b*at) You know, for a couple of rich kids, Asad and Youssef aren't exactly living it up. (SFX: CAR DOORS OPENS) CUT TO: EXT. SIDE OF HOUSE - DAY ZIVA: You think they'll be deported?(MUSIC OVER ACTION/GIBBS AND ZIVA WALKS TO THE GATE) GIBBS: Yeah, probably.(ZIVA AND GIBBS CHASE ASAD) ASAD: (V.O.) Youssef! Youssef! (IN ARABIC) Quickly! CUT TO: INT. GARAGE - DAY YOUSSEF: (IN ARABIC) What is it? ASAD: (IN ARABIC) They're coming for us! ZIVA: (IN ARABIC) Down on the floor! Now! GIBBS: Turn around. (YOUSSEF SHOUTS IN ARABIC) (GIBBS PUNCHES YOUSSEF/ YOUSSEF FALLS TO THE GROUND) (SFX: YOUSSEF MOANS B.G.) ZIVA: Gibbs. SWISH PAN TO: INT. BEDROOM - NIGHT JEANNE: (GIGGLING) How can I possibly believe all that? TONY: It's all true. JEANNE: The roses? TONY: True. JEANNE: Hmm. The runaway horse? TONY: I still have the scars. JEANNE: Where? TONY: Okay. Right there. JEANNE: Oh! TONY: Yes. JEANNE: Shall I kiss it and make it better? TONY: You do whatever you think is best, Doctor. I'm not going to stop you. This is illegal in some Southern states. (SFX: PAGER BEEPS) JEANNE: Oh, pager! Oh! TONY: Oh, just tell them you're performing a delicate emergency procedure and you'll call them back later. JEANNE: I couldn't do that to them. (SFX: DIAL TONE) TONY: I could. (TONY THROWS THE PAGER ACROSS THE ROOM) JEANNE: You... did not just do that. (SFX: KSSING) TONY: You like it, don't you? JEANNE: Greedy. (SFX: CAMERA SHUTTER CLICKS) (MUSIC OUT) (ENDING CREDITS UP AND OUT) (ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x12 - Suspicion"}	foreverdreaming
MUSIC IN: EXT. STREET - DAY CARTER: (INTO PHONE) What do you think I said? Oh. I told Sydney she's more than welcome to freeze her own head when she dies, but mine is being cremated and scattered at the nearest Hooters. Yeah, I know. She's crazy! Even if it works, who wants to live forever! Live fast, die young, you know? (SFX: CAR TIRES SCREECH) (SFX: CAR HORN HONKS) CARTER: Hey! What are you doing? The sign said walk! MILLS: No way! My light was green! (F/X: TRAFFIC SIGNAL FLASHES) CARTER: You ever see a street light malfunction like that before? MILLS: That's not a malfunction. (bat) That's an S.O.S. (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: EXT. STREET INTERSECTION - DAY "SHARIF RETURNS" CARTER: The lights went crazy. They all started blinking. MILLS: And my light was green, so it surprised me that anybody... (FLASHBULBS) CUT TO: INT. UNDERGROUND - DAY MCGEE: City engineers traced the disturbance to an underground power node. Back traced the source, they found this. CUT TO: INT. JUNCTION ROOM - DAY (DOOR OPENS) TONY: Hey Boss. Meet Marine Officer Major John Maguire. At least that's what his I.D. says. It's hard to tell with the, you know, the one eye. GIBBS: Yeah, where's the missing one? TONY: Your guess is as good as mine. The Major worked under Marine Corps Systems Command as liaison to the civilian sector for NBC preparedness. MCGEE: Nuclear, biological, and chemical. TONY: Very good. I'm proud of you. Like a weird uncle. Hey, boss, you may not have noticed, but the... GIBBS: Door locks from the outside. TONY: Oh, so you noticed that. MCGEE: Meaning someone else locked him down here. GIBBS: Yeah, you really want to impress me, McGee, tell me why. He know where his S.O.S. was going? MCGEE: Not a chance. Shorting the power box was clever, but a sht in the dark. Lucky it worked at all. ZIVA: And someone was able to figure it out. DUCKY: That's precisely why S.O.S. was chosen, because it was so very recognizable. Dot-dot-dot, dash-dash-dash, dot-dot-dot. Unlike the old signal which was CQD, come quick distress. GIBBS: Just the S.O.S.? ZIVA: That's all he sent. MCGEE: Morse code's a dying art. ZIVA: Was for him. TONY: Well, he could have sent a longer message, but nobody would have recognized it. Present company excepted. GIBBS: Cause of death? DUCKY: Well, he didn't suffocate. There are no signs of cyanosis to indicate oxygen deprivation. No petechial hemorrhages that would indicate strangulation. There's no blunt or sharp force trauma. In fact, there is no sign of any trauma at all. MCGEE: Other than the missing eye. DUCKY: That would explain his death, Timothy. GIBBS: The blood came from somewhere. DUCKY: Yes, well, the blood on the hands is superficial, from several torn cuticles and pads. TONY: It looks like he literally tried to climb the walls. DUCKY: Oh, that's odd. Ninety-nine point one. It appears our corpse is running a slight fever. MCGEE: What happened down here? ZIVA: Whatever happened, someone wanted to watch. DUCKY: (V.O.) Though the idea... CUT TO: INT. AUTOPSY ROOM - DAY DUCKY: ... of the artificial eye was centuries old, it didn't really takeoff until the early twentieth century. Yes, a group of Germans toured the United States, custom fitting glass eyes to those who needed them. Yes, which would have included you, Major, had you still been alive. Sadly, the outbreak of wr led to shortages, resulting in ill-fitting eyeballs, which had a tendency to pop out during rigorous interpersonal activity. TONY: Such as? DUCKY: I leave that to your imagination, Tony. But I do have a cause of death. GIBBS: I was hoping there was a reason you called me down here, Ducky. DUCKY: Yes, the Major's death occurred as a result of acute organ failure, brought about by hyperthermia. TONY: It wasn't that cold down there. DUCKY: No, hyperthermia, Tony. Not hypo. His body literally became too hot to handle. GIBBS: It wasn't that warm down there. DUCKY: DUCKY: No, indeed it wasn't, but the hyperthermia would explain the elevated body temperature I found at the crime scene. (CONT.) One mystery solved. Unfortunately, the Major does not appear to suffer from any of the risk factors involved in heat stroke. GIBBS: Well, he still managed to die from it. DUCKY: Yes, indeed, he did. You know, certain medications can interfere with the body's cooling processes, but we'll have to wait for Abby's toxicology report to see if that is a factor. TONY: (LAUGHS) I get it. Rigorous interpersonal activities. I get it. Maybe there's a trophy for the crypt keeper? DUCKY: The wound was self-inflicted. GIBBS: Are you saying that he-- DUCKY: He tore out his own eyeball. Now, I found traces of vitreous fluid under his fingernails. TONY: Well, where'd it go? We didn't find an eyeball at the crime scene. DUCKY: (CHUCKLES) It was at the crime scene, all right. Hiding in his stomach. GIBBS: You didn't find a toe in there too, did you, Duck? TONY: How'd it get in his stomach? DUCKY: Oh, I don't know, Tony. But there are only two pathways into the stomach. Neither possibility is particularly appetizing. CUT TO: INT. ABBY'S LAB - DAY ABBY: ABBY: Gibbs! Thank God you're here. I really need your help. You've got to stop me from doing something stupid. I'm thinking about getting a tattoo. (bat) All these tattoos. You know, I get really nervous 'cause it's such a final decision. (CONT.) Should I go with something a little esoteric or I don't know, maybe a little Eastern? Huh, Ganesh. The Hindu god of wisdom, for me, the wise one. What do you think? GIBBS: I don't think I'm the one to ask about this. ABBY: But Gibbs, you know me better than anyone else! And when you're going to make a decision that's going to affect the rest of your life, you need the person around you that knows you best for guidance. Please? GIBBS: Where do you want to put the tattoo? ABBY: You're right. You're not the one to ask. Toxicology report. I heard about Ducky's unexplained hyperthermia. I can explain it. I found traces of three quinuclidynyl benzilate in Major Maguire's blood. NATO calls it MZ gas. We call it Agent Buzz. It's an incapacitating agent that causes hyperthermia, severe hallucinations and in large enough doses, death. It's a chemical wapon, Gibbs. GIBBS: Whose? ABBY: It's hard to tell. Chemical wapon are banned, but they're still allowed for research purposes. Even by our own government. GIBBS: Can you tell which lab it came from? ABBY: No, but I do have a lead. The camera that you pulled from the sewer is Wi-Fi based. It works by piggy-backing on local, unprotected networks. Once it's on the internet, it can be routed anywhere at will. And it makes it totally untraceable. GIBBS: But you traced it anyway. Let me know when you-- ABBY: I got an address. GIBBS: Yep. ABBY: No, I mean, I got an address. The kller watched the Major die from a bowling alley. Nineteen Bella Street. Of course, whoever was there is probably long... gone...right now. Hm... CUT TO: INT. CAR - DAY (SFX: CAR ENGINE OUT) TONY: I've got a bad feeling about this. We let the Elf Lord go in, we may never get him out. MCGEE: It's getting old, Tony. GIBBS: Tony, you and Ziva take the back. Elf Lord, you're with me. (DOOR OPENS) CUT TO: INT. BOWLING ALLEY - DAY (MUSIC OVER ACTION/GIBBS AND MCGEE WALK THROUGH THE BOWLING ALLEY) (SFX: VIDEO GAMES B.G.) MCGEE: I wonder where everyone is. GIBBS: (INTO RADIO) Talk to me, Ziva. ZIVA: (V.O./FILTERED) Rear service entrance clear. Standing by. REYNOLDS: (V.O.) Ask me again. I still don't believe you! Look, we can do this nice and easy, or not so nice and easy. Come on, man! Start talking! MANAGER: (V.O.) Hey, man. I said I didn't know! REYNOLDS: (V.O.) I don't believe you! (DOOR OPENS) CUT TO: INT. BACK ROOM - DAY MCGEE: (SHOUTS) Federal agents! Drop it! GIBBS: (SHOUTS) Drop your wapon! AGENT: Nice and easy! REYNOLDS: Federal agents! Put them down! AGENT: Lower your wapon! TONY: NCIS!! Drop your wapon! MANN: Drop your wapon! REYNOLDS: Put it down! MANN: How about if we all drop our wapon, since clearly we're all on the same team? (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - DAY MANN: Mamoun Sharif. CID was able to trace an old lead from when Sharif was working as a paid informant for the CIA. The trail led to an alias which led to a credit card. GIBBS: Which led to a bowling alley. MANN: Yep. Funny us running into each other like that. GIBBS: Funny? MANN: Do you have a better word? GIBBS: A few come to mind. MANN: So the real question, are our cases connected. TONY: As connected as McGee and his cute little writing pipe. Prints on the computer that was used to monitor the sewer matched the prints on file from Sharif's CIA report. The Mad bmb's back. ZIVA: Except he's not using bmb this time. MANN: So where did he get the BZ gas? TONY: One of the Major's duties was to deliver small quantities of wapon's grade gasses to civilian research labs. GIBBS: Ziva, you and Tony... ZIVA: Run down the list of the Major's deliveries starting with the most recent. GIBBS: And find out... TONY: If any of them were BZ gas. On it, Boss. MANN: They always finish your sentences for you? GIBBS: I teach them to anticipate. MANN: Well, they do it well. You must be a good teacher. GIBBS: Well, thank you very much. (LAUGHS) MCGEE: Ah, Boss, if Sharif was trying to cover his tracks, why would he go to all this trouble just to kll Major Maguire? MANN: It does seem unusual that Sharif would have wasted the BZ gas the way he did. GIBBS: He wasn't wasting it. He was testing it. MUSICAL BRIDGE TO: INT. SHEPARD'S OFFICE - DAY SHEPARD: Testing it for what? GIBBS: It's a chemical wapon. Take a guess. SHEPARD: I meant do you have anything specific? A date? A target? MANN: No. Nothing yet. SHEPARD: Is there any hard intel suggesting that Sharif is planning an attck? GIBBS: You mean other than the dad guy in our morgue? MANN: If you're worried about the lack of chatter... GIBBS: Don't. MANN: ... the last time Sharif planned an attck, there was zero uptick. SHEPARD: He certainly proved last time that he was a pro at flying beneath our radar. MANN: Yes, but even if he's planning on not using the gas himself... GIBBS: Sell it to someone who will. MANN: Yep. SHEPARD: Homeland Security certainly loves non-specific thrat. MANN: So how are we going to handle this? Our investigations have merged. Who is going to take the lead? SHEPARD: You'll be working under Agent Gibbs. Your boss and I flipped a coin for it. Is that a problem? MANN: No problem. I'm just... GIBBS: Used to being on top. MANN: In command, yes. But I've worked with Agent Gibbs before, and I'm happy to again. SHEPARD: Hmm. (SHEPARD NODS HER HEAD) (DOOR OPENS/ CLOSES) CUT TO: INT. HALLWAY - DAY MANN: You two have worked together a while, huh? GIBBS: Mm-hmm. MANN: How long? GIBBS: Reason you're asking? MANN: Just curious. (bat) Forget it. (MUSIC OVER ACTION/MANN AND SHEPARD WALK IN HALLWAY) CUT TO: INT. HALLWAY - DAY GORDON: Major Maguire was here last week. Secured delivery. Shame what happened. TONY: You seem real broken up. GORDON: Hey, I got my own problems. We upsized our operation after Nine Eleven. Things haven't quite panned out. Lines out the door for Game Box Three, and I got warehouses of this, no one wants, and creditors up the wazoo. ZIVA: Up wazoo? TONY: Good luck with that one. (SFX: CELL PHONE RINGS) TONY: Oh, wait a minute. Give me a second. (INTO PHONE) Hi. ZIVA: He's got two cell phones, one for each ear. TONY: (INTO PHONE) Yeah. I can take a rain check. (V.O.) Everything all right? (INTO PHONE) All right, I'll talk to you later. ZIVA: Sounds like you have something up your wazoo. A doctor's probe, perhaps? GORDON: Look, I have a business to run. If you have any more questions, you can ask our chief engineer. He's in here. (DOOR OPENS) GORDON: Dane, tell them what they need to know. Okay? (bat) Yeah. CUT TO: INT. LAB - DAY DANE: What do you need to know? TONY: Well, my partner probably needs to know your home phone number. (F/X: ZIVA HITS TONY) (SFX: TONY GRUNTS) TONY: See, if you just let it go, he would have thought I was kidding. ZIVA: I don't want your number. DANE: What do you want? ZIVA: You got a delivery of BZ gas last week. TONY: We need to confirm shipment details. DANE: Invoice number? TONY: So if chemical wapon are banned, how come you guys are still doing research with them? DANE: Not everyone plays by the same rules as us. We still need to certify that our safety devices will be functional against a rogue attck. Military provides us with the samples, certify our devices. Then we do the testing. Here we go. Four kilograms of BZ concentrate. TONY: Four? According to SYSCOM records, it was fourteen. DANE: We asked for four. That's what the Major signed over to us. ZIVA: Ten kilograms missing. TONY: (WHISPERS) Is that a lot? CUT TO: INT. ABBY'S LAB - DAY MCGEE: So then the Colonel says to Gibbs, "Funny us running into each other like that." ABBY: McGee, you are reading way too much into this. MCGEE: Abby, you were not there. You did not see the look on Gibbs' face. GIBBS: Look at what, McGee? MCGEE: Hi, Boss. I was... I was just... MANN: Talking about us behind our backs? ABBY: Well, we were trying to. (SFX: COMPUTER BEEP TONES) GIBBS: What do you got on Sharif? MANN: Or Maguire? MCGEE: Well, we've been digging all day trying to find the connection. ABBY: Um, one possibility? GIBBS: A twenty thousand dollar deposit. MANN: Wired from an offshore bank account two days ago. GIBBS: Is Sharif the source of that wire? ABBY: Well, he didn't sign his name on it. MCGEE: If we can track the source, it might give us a lead on him. GIBBS: Yeah, do it. ABBY: Oh, wait! There's more! MCGEE: The Wi-Fi camera that Sharif used, it stream videoed Major Maguire in real time to Sharif's computer. ABBY: And we all know that the internet was designed to be a redundant communications protocol. MCGEE: And we were able to use that redundancy to find echoes of the original stream by locating the separated packets as they were routed from... (MCGEE CONTINUES B.G.) MANN: How long will they go on like this? GIBBS: Until we stop them. MCGEE: ...ISP to ISP... MANN: McGee! Bottom line. MCGEE: We've got the video Sharif took of Major Maguire before he died. ABBY: First he tried to pick the lock. MCGEE: Then he called for help. About a half hour later, he gets the idea to try and signal using the power box on the wall, which caused the traffic lights on the street to blink. ABBY: Watch what happens when the BZ goes into effect. MANN: Oh, he looks really agitated. MCGEE: The BZ gas causes severe hallucinations. ABBY: He is literally losing his mind. Now we know how an eyeball got in his stomach. MANN: How much? ABBY: This was the result of roughly ten milligrams of exposure. MCGEE: (bat) What? GIBBS: We're missing ten kilograms, McGee. MCGEE: That's like a million times more. MUSICAL BRIDGE TO: INT. NCIS SQUAD ROOM - DAY TONY: Good news, Boss. Gordon Gear ran a full inventory. ZIVA: The only thing unaccounted for was the BZ gas. GIBBS: Does that mean you found Sharif? TONY: I guess he's still unaccounted for, too. GIBBS: He's someplace doing something. Figure out where and find him! TONY: I've got an idea! Campfire! ZIVA: No! TONY: Yes! Campfire is where we all get together and in a free environment, you know, without hugging and everything, we uh... not a big fan of the campfire. MANN: And where's he going? MCGEE: Same place he always goes to think. CUT TO: INT. BASEMENT - DAY (DOOR OPENS) (KNOCK ON DOOR) MANN: I thought you'd like to know that Sharif made it to the top of every agency's most wanted list. Homeland Security's all over it. (bat) Where's your boat? GIBBS: Oh, had to move it to make some room. MANN: Yeah, but... GIBBS: They're covering their asses. MANN: But where...? GIBBS: It'll take them days to do anything. MANN: Yeah, well they want a briefing. Chemical wapon are notoriously difficult to deal with. And ten kilograms is a large amount. It could be a land-based attck. GIBBS: Or it's something else we haven't thought of yet. MANN: Well, that's what I'm here for. GIBBS: Is it? MANN: You say that like you were expecting something else. Or is it hoping? GIBBS: Whatcha got in the bag? MANN: Dinner. GIBBS: Why don't we start with that? MANN: So maybe Sharif is just going to sell the BZ. GIBBS: He's not. MANN: And you're so sure of that because? GIBBS: His eyes. MANN: His eyes? GIBBS: He doesn't want the money. He wants to kll. MANN: Who? Sharif's sold himself out to the highest bidder his whole life, no matter what side they were on. And what's changed? GIBBS: People get older. Realize that they want something different. MANN: And you can tell this just by looking into someone's eyes? GIBBS: Yeah. MANN: Okay. What do you see in my eyes? GIBBS: (LONG bat) You want me to kiss you. MANN: So are you going to? GIBBS: Yeah. MANN: When? GIBBS: After we catch Sharif. MANN: That's probably a good idea. GIBBS: Really? 'Cause I was hoping you wouldn't think that-- MANN: No, no, no. It's a good idea, and I'd better go before I change my mind. Ah, you know, we're a distraction to your team. We can't have anything interfering with finding Sharif. GIBBS: Yeah, we're going to find him. Then what? MANN: Interfere. (SFX: CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) Hello, Agent Gibbs. (SCENE CUT) GIBBS: (INTO PHONE) What do you want, Sharif? (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) No pleasantries? That's not very friendly, Agent Gibbs. (SCENE CUT) GIBBS: (INTO PHONE) You want friendly? The front door is open. (SCENE CUT) GIBBS: (V.O./FILTERED) Bring coffee. MAMOUN SHARIF: (INTO PHONE) I did. But you weren't home. (SCENE CUT) MAMOUN SHARIF: (V.O./FILTERED) Nice place. Got some decorating tips, but first things first. (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) I know you are aware I have almost ten kilograms of BZ gas in my possession. (SCENE CUT) MAMOUN SHARIF: (V.O./FILTERED) I wasn't expecting applause... (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) ... but I was hoping for a little bit more. (SCENE CUT) GIBBS: (INTO PHONE) What do you want? MAMOUN SHARIF: (V.O./FILTERED) The United States Government is holding six alleged members of a Chechen separatist group... (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) ... in a secret prison in Afghanistan. I want them released within the next twenty-four hours. (SCENE CUT) GIBBS: (INTO PHONE) Not going to happen. MAMOUN SHARIF: (V.O./FILTERED) Because the United States does not negotiate with trrorists. (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) But you misunderstand. We are not negotiating. (SCENE CUT) MAMOUN SHARIF: (V.O./FILTERED) Either you release those men.... (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) ....or I will release more of the BZ gas. (SCENE CUT) GIBBS: (INTO PHONE) More? MAMOUN SHARIF: (V.O./FILTERED) It's hard to say how many have been exposed. (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) Airborne wapon is a tricky business. (SCENE CUT) MAMOUN SHARIF: (V.O./FILTERED) But I am sure the eleven o'clock news will have a pretty good figure by now. (SFX: GIBBS CLICKS ON THE TV) ZNN REPORTER: (ON TV) ... hospital. Authorities are not certain what has caused the mystery illness. There are no fatalities as of yet, but at least six people have fallen sick. (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) Actually, counting you, Agent Gibbs, that makes seven. (MUSIC UP AND OUT) MUSIC IN: INT. OUTER AUTOPSY - DAY ABBY: Poor Gibbs. First he loses his memory, and now he might lose his mind. ZIVA: Sharif is going to lose a lot more than that when Gibbs catches him. (SFX: DOORS SLIDE OPEN) ABBY: Is he going crazy? DUCKY: No, he's his usual self. Which some people might characterize as unconventional. I didn't find any trace of BZ gas in either of them. Sharif appears to be bluffing. You're welcome to... ABBY: Gibbs! I was so worried!(ABBY HUGS GIBBS) GIBBS: I'm okay, Abs. MANN: Yeah, me too. ZIVA: No fatalities at the hospital. The dose was too low. They're reporting it as food poisoning. But the word is already beginning to leak out. GIBBS: How did Sharif deliver the BZ?(ELEVATOR DINGS/ DOORS OPEN/ CLOSE) ABBY: I can't tell yet. The pattern of illnesses appears random. CUT TO: INT. ELEVATOR - DAY ZIVA: We're still trying to find a link between Sharif and the Chechen rebels. GIBBS: You won't find one. He's trying to distract us. MANN: From what? GIBBS: I don't know! MANN: Then what makes you so sure? ABBY: (bat/WHISPERS) Never question the gut. CUT TO: INT. SQUAD ROOM - DAY (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) MCGEE: Oh! GIBBS: Going somewhere, McGee? MCGEE: Actually, looking for you, Boss. I might've found a connection between Sharif's victims. Neighbors reported seeing the same truck outside of two of the houses. MANN: Well, you got a plate? MCGEE: Not enough of one. All I got is a red truck, some kind of logo. GIBBS: Ziva, you and Tony find out if anyone else saw - where the hell is Dinozzo? ZIVA: You tell me. Oh, that's right. You won't. GIBBS: Find him! (SHOUTS) Now! CUT TO: INT. HALLWAY - NIGHT (KNOCK ON DOOR) TONY: Paging Miss Benoit. Miss Benoit, please report to your front door, please. (KNOCK ON DOOR) (SFX: CELL PHONE VIBRATES) ON CELL SCREEN: ZIVA CALLING TONY: There's a medical emergency requiring your assistance, Miss Benoit. Patient at your front door is dying of loneliness. JEANNE: So when I said rain check... TONY: That's weird. Because I thought you said brain checks. Some kind of breakfast cereal good for your brain. What's wrong? JEANNE: It doesn't have anything to do with you.(DOOR OPENS) TONY: That's not what I asked. CUT TO: INT. APARTMENT - NIGHT (DOOR CLOSES) TONY: If you don't want to tell me, I can always look at your horoscope or read some team leaves. JEANNE: What is it about "no" that men refuse to understand!? TONY: Is this all men, or just me? JEANNE: I got an email from an old friend. TONY: And this old friend is not good at the no word? JEANNE: No, this friend isn't! TONY: This is starting to sound like this may have something to do with me. JEANNE: Not everything is about you. TONY: Okay, then! Enough about me. Let's talk about you. What do you think of me? JEANNE: Beaches. Bette Midler. Nineteen eighty-seven. TONY: Nineteen eighty-eight, actually. But I'm going to give it to you anyway 'cause you're kind of cute. And you win the prize. A night with Francois Truffaut. Well, actually probably a couple nights - maybe even a long weekend. We can start with the foreign blows. JEANNE: I love Truffaut. TONY: Just so we're clear. You know, to make sure there's no confusion in the future, when we use the word "rain check," we're saying "no" now, right? JEANNE: Not no with a capital, more like a lower case no. TONY: Yes, that's perfectly unclear. You see, this might be why men have trouble understand the feminine of the "no" word thingy. I'm digging myself a hole here. JEANNE: Yeah. TONY: You know, since I'm here, it's a shame to waste me. I vote for a group bath. (SFX: JEANNE CHUCKLES) TONY: Was that a yes or... JEANNE: It wasn't a no. TONY: Ah! Very good. (SFX: WATER RUNS B.G.) (MUSIC OVER ACTION/TONY READS EMAILS ON THE COMPUTER) (SFX: CELL PHONE VIBRATES) TONY: (INTO PHONE) Hey. Is this about the mystery illness?(BEGIN TELEPHONE INTERCUTS) ZIVA: (V.O./FILTERED) I don't know. You tell... (SCENE CUT) ZIVA: (INTO PHONE) ...me. TONY: (V.O./FILTERED) I'm telling you... (SCENE CUT) TONY: (INTO PHONE) I just got the news flash. Sharif? (SCENE CUT) ZIVA: (INTO PHONE) Yes. Where are you? (SCENE CUT) TONY: (INTO PHONE) Off duty. (SCENE CUT) ZIVA: (INTO PHONE) Okay, this is getting old, Tony. (SCENE CUT) TONY: (INTO PHONE) This is why I don't answer your calls. (SCENE CUT) ZIVA: (INTO PHONE) McGee found a connection between victims. Their homes were fumigated by the same firm. (SCENE CUT) TONY: (INTO PHONE) All right, text me... (SCENE CUT) TONY: (V.O./FILTERED) ... the address ZIVA: (INTO PHONE) Where are you?! (END TELEPHONE INTERCUTS) CUT TO: INT. LIVING ROOM - NIGHT (TONY STAMMERS INTO THE PHONE) JEANNE: (V.O.) Tony? (ON CAMERA) The water's getting cold. TONY: About that rain check. CUT TO: INT. MTAC ROOM - DAY SHEPARD: (INTO PHONE) The pest control firm didn't realize that one of their commercial sprayers was missing, until I sent two of my agents to question them. We've IDed Sharif as one of their employees. GIBBS: Former employee. SHEPARD: (INTO PHONE) Call you back. MANN: Sharif hasn't shown for work since the attck. SHEPARD: SHEPARD: Probably because he's too busy preparing for his next one. The missing sprayer is truck-mounted. But it could easily be adapted for a small aircraft. (CONT.) I'm having mobile sensors deployed at every Marine and Naval base on the East Coast. MANN: F.A.A. finished grounding all small aircraft? SHEPARD: In the works. GIBBS: Ducky says there's an antitoxin. MANN: Needs to be delivered to all trauma ones and base hospitals. SHEPARD: In the works. MANN: I hope "in the works" means something different here than it does where I come from. GIBBS: Keep hoping. MUSICAL BRIDGE TO: INT. MTAC - HALLUCINATION GIBBS: (SHOUTS) You don't want this being seen? It's too late! Too late! Too late! MUSICAL BRIDGE TO: INT. MTAC - DAY SHEPARD: Jethro? Are you okay? GIBBS: Yeah. Fine.(GIBBS WALKS O.S.) SHEPARD: Colonel Mann. MANN: Yes, Director? SHEPARD: He is not fine. MANN: Well, we're all under a lot of stress. SHEPARD: A word of advice: Agent Gibbs is one of the best agents around. But when it comes to dealing with bureaucracy, it's not one of his stronger points. MANN: Then your point? SHEPARD: My point is that I almost lost him six months ago, and I don't want a repeat. MANN: Well, with all due respect, Ma'am, I think Agent Gibbs can take care of himself. I think you know that. SHEPARD: Yes. I do. That will be all. CUT TO: INT. SQUAD ROOM - DAY REPORTER ON TV: (V.O.) ...about a possible trror1st attck. There has been no official confirmation, but the FAA continues to ground... (REPORTER CONTINUES B.G.) ABBY: (OVERLAP) Gibbs! We have news. MCGEE: We were able to back trace the wire transfer to Major Maguire. ABBY: It wasn't easy. Most offshore accounts use a block cipher as a security protocol. MCGEE: So what we did was we fooled their system by causing it-- GIBBS: You got a location on Sharif? ABBY: Gibbs, the wire transfer did not come from Sharif. MANN: Who did it come from? CUT TO: INT. OBSERVATION ROOM MCGEE: So this is the guy Ziva was drooling over. ZIVA: I wasn't drooling! TONY: Please. I saw you undressing him with your bedroom eyes. ZIVA: At least I'm not the one asking him if he waxed his eyebrows. TONY: It's important to appreciate the competition. (ZIVA LAUGHS) CUT TO: INT. INTERROGATION ROOM (DOOR OPEN) DANE: I want a lawyer. (DOOR CLOSES) GIBBS: Why? You done something wrong? DANE: I'm admitting to nothing. MANN: You don't need to. We already know you wired twenty thousand dollars to Major Maguire. What we don't know is why? GIBBS: I'm gonna make this real simple for you. (V.O.) No lawyer. (ON CAMERA) No trial. CUT TO: INT. OBSERVATION ROOM MANN: (FILTERED) Just a room like this until you talk. CUT TO: INT. INTERROGATION ROOM MANN: That's the way it works for trrorists. DANE: I'm not a trror1st! GIBBS: Well, you better hope you can convince us otherwise. CUT TO: INT. OBSERVATION ROOM DANE: (FILTERED) All right. CUT TO: INT. INTERROGATION ROOM DANE: I diverted the BZ gas to Sharif, not the Major. When I went to cover my tracks... GIBBS: Major Maguire found out. DANE: Yeah. Sharif said he would take care of it. I got worried when the Major disappeared, because I knew the missing BZ would be traced back to me. MANN: So you made it look like Major Maguire sold the gas to Sharif by putting the money in his account. GIBBS: How much did Sharif pay you? DANE: Nothing. I paid him. MANN: What? You just like klling Americans? DANE: We weren't planning on klling anyone. The plan was to scare people! GIBBS: Hey, it's working. DANE: You guys don't get it, do you? Every time there's a catastrophe, someone cashes in. Katrina, the construction companies cleaned up. The tsunami, traders made a klling on tsunami detection stocks. MANN: And during a chemical scare... DANE: Have you checked the stock market today? My lab paid me in stock options. The phony attck that put six people in the hospital. Oh, that worked 'cause everybody is running out and buying gas masks now. The stock prices went through the roof. I'll be a millionaire by tomorrow's bell. GIBBS: You're going to be in prison by tomorrow's bell. MANN: You gave a trror1st deadly nerve gas. DANE: Just wait, all right? It's not what you think! I built in a safeguard. I denatured the enzyme, which makes it useless for an airborne attck. That's the only way that I would give him the BZ gas. GIBBS: Sharif knew? DANE: Stealing the bug sprayer was just to scare people. Sharif has the BZ but he can't even use it. I mean, if you ingest it, it'll kll you. But yea, last time I checked, bleach and bug spray will do the same thing, and you can buy that anywhere. There is no trror1st attck. GIBBS: Then why are there six people in the hospital right now? (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY MCGEE: Boss, local LEOs found the stolen sprayers in an alley. No trace of BZ. (LONG bat) (TO TONY) I think maybe Dane was right. TONY: Wrong, Probie. This is Sharif. He wouldn't go to all the trouble if he didn't have a plan. And not knowing is driving Boss crazy. MCGEE: Then explain how Sharif is going to spread the BZ if it's been modified? ZIVA: Maybe it wasn't modified. MANN: It was. CID's chemical wapon specialist analyzed the blood of the victims at the hospital and confirmed the BZ's been modified. It's harmless unless ingested. ZIVA: Which is basically harmless. GIBBS: It wasn't harmless for Major Maguire and those six people. TONY: Sharif was in their houses. He could have spiked their O.J. with BZ. MCGEE: Or Sharif figured out a way to modify it back. (SFX: CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) Why don't I wait for you to start the trace? (SCENE CUT) MAMOUN SHARIF: (V.O./FILTERED) I just called to see how you were feeling... (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) ... Agent Gibbs. (SCENE CUT) GIBBS: (INTO PHONE) Better than those six innocent people you put in the hospital MAMOUN SHARIF: (V.O./FILTERED) I'd stop by to pay my respects, but I'm on my way out of town. (SCENE CUT) MAMOUN SHARIF: How about I send you a postcard? I am planning on traveling .... (SCENE CUT) MAMOUN SHARIF: (V.O./FILTERED) ...quite a bit for my retirement. GIBBS: (INTO PHONE) And your Chechen buddies? MAMOUN SHARIF: (V.O./FILTERED) I'm not... (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) ... even sure where Chechnya is. (SCENE CUT) GIBBS: (INTO PHONE) We both know you're not retiring. MAMOUN SHARIF: (V.O./FILTERED) With what I need.. (SCENE CUT) MAMOUN SHARIF: (INTO PHONE) I plan to ... (SCENE CUT) GIBBS: (INTO PHONE) Who were they? (SCENE CUT) GIBBS: (V.O./FILTERED) Wife? (SCENE CUT) GIBBS: (INTO PHONE) Family? (SCENE CUT) GIBBS: (V.O./FILTERED) Come on, Sharif. I've been there. I know. It's not... (SCENE CUT) GIBBS: (INTO PHONE) ... the money. It's payback. You won't stop until you get it. (SCENE CUT) GIBBS: (V.O./FILTERED) So who were they? (END TELEPHONE INTERCUTS) CUT TO: INT. SQUAD ROOM - DAY TONY: So this is all about payback? MANN: Oh, he's planning an attck. DUCKY: I believe I have a clue as to what that might be. MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY DUCKY: Do you see the slight inflammation of the stratum corneum of his finger tips? MANN: Slight? TONY: Looks like he was grating cheese, forgot the cheese. DUCKY: DUCKY: Yes, well, most of the damage occurred when Major Maguire attempted to scale the walls of his crypt. (CONT.) But when I was learned that the BZ gas had been modified so it was no longer an airborne thrat, I looked for other methods of exposure. MANN: He ingested it. DUCKY: That's a good guess, but also a wrong one. The answer lies in the Major's urine. Smell that. TONY: I'd prefer not to. GIBBS: (SNIFFS) Garlic. MANN: Sharif is spiking garlic with BZ toxin? DUCKY: No. The contents of his stomach showed that Major Maguire hadn't eaten anything, much less garlic. It appears that Sharif may have been testing a topical method of exposure. Like sunscreen or a body oil. If that is the case, then that would explain both the inflammation and the garlic odor byproduct. Of course, all this will require a specialized analysis from Abby to determine that that is indeed the case. I'm fairly certain that.... where'd they go? TONY: I'm guessing Abby's lab. DUCKY: I know that Gibbs always gets his man, but those two are unusually motivated to find Sharif. CUT TO: INT. ABBY'S LAB - DAY ABBY: DMSO. Or as we professionals call it dimethylsulfoxide. It's an industrial strength solvent that has very interesting side effects. MANN: It carries whatever it comes in contact with directly into the blood stream. ABBY: Wow. Gold star for the Colonel. So it looks like Sharif has mixed BZ with DMSO, which means that all anyone has to do is come in contact with a coated surface to be exposed. The more BZ is in the mix, the faster it'll take effect. Anywhere from ten minutes to thirty-six hours. GIBBS: How many people? ABBY: The bad news, about a hundred thousand. MANN: Oh, well the good news better be really good. ABBY: Well, Sharif is going to have some serious distribution problems. If he were to go door-to-door - right? There's only so many people he can get to before we get him. He could do more damage with a gn. (INTERCUT FLASHBACK SCENE) (SFX: gn) (SFX: VOICE SCREAMS) (SFX: CELL PHONE RINGS) MANN: Are you going to get that? GIBBS: (INTO PHONE) Yeah, Gibbs. TONY: (V.O./FILTERED) We've got some tape on Sharif. GIBBS: (INTO PHONE) We're on our way up. (TO MANN) Got a lead on Sharif. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY TONY: The guy's been a busy little banker. ZIVA: He spent the last three days going from bank to bank. GIBBS: Depositing or withdrawing? MCGEE: Withdrawing. And all of it in singles. ZIVA: Twelve transactions at twelve different banks. MCGEE: Which is why he was flagged. TONY: Anti-laundering law used to say any transaction over ten grand needs to be reported. MANN: But those are nine thousand each. MCGEE: Well, Sharif must have known about the limit. TONY: What he didn't know is that the Fed lowered the threshold to five grand last month. GIBBS: Since when do you know so much about anti-laundering laws, Dinozzo? TONY: Well, you should read your memos more often then, Boss. GIBBS: Or not. MANN: (V.O.) How much? ZIVA: One hundred and eight thousand. MCGEE: A lot of singles. ZIVA: About one hundred and eight thousand. TONY: I have an entirely inappropriate joke about strip clubs, but I'm going to save it for a less terrifying moment. MANN: He's putting the BZ on the money. GIBBS: And the way it changes hands within thirty-six hours... MANN: A lot more than a hundred thousand will be at risk. GIBBS: Dinozzo. TONY: I'll check casinos and racetracks. Best places to get rid of large amounts of cash quick. MANN: Agent McGee, airports. Train stations. Wherever Sharif can ht large groups of people. MCGEE: On it, Boss. Colonel. GIBBS: Ziva, coordinate roadblocks with local LEOs. MANN: We're going to have to issue a warning. It's going to wreak havoc on the economy. GIBBS: The economy is not what I'm worried about. MANN: He could be anywhere. We're not going to find him now. GIBBS: You're reneging on our deal? MANN: Huh. GIBBS: McGee! MCGEE: Yeah, Boss? GIBBS: What is this? MCGEE: (bat) Well, it looks like the cash. GIBBS: I can see that, McGee! No, that! Right there. What is that? That! MCGEE: Let me see this. Looks like a GBP. It's a GameBox Portable. TONY: Pest guy said Sharif was addicted to it. GIBBS: Is that a video game? MCGEE: Actually, it's a wireless handheld game console. GIBBS: Wireless? Does that mean it's traceable? MCGEE: If he's playing it, and we knew his online gaming ID. Yeah. MANN: We do. MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY GIBBS: Abs? ABBY: Tony already called him on it. Looks like while Sharif was waiting for Major Maguire to pop his cork, he spent four hours at the bowling alley playing an online video game called kller Kudsuckers. MCGEE: You got his handle? ABBY: Almost there. Oh, look. It's "Agent Gibbs." MCGEE: Accessing the multi-player registry. He's online. He's actually been online over an hour. ABBY: He's not in any rush. MANN: No, he's waiting for something. A plane or... MCGEE: A train! He's at the Amtrac station. MUSICAL BRIDGE TO: EXT. STREET - DAY (SFX: CARS SCREECH TO A SOTP) MCGEE: He's still online. MANN: National Guard is sending in a response team with antidote. TONY: If someone wants to suggesting waiting for him outside I won't complain. CUT TO: INT. TRAIN STATION - DAY GIBBS: (V.O.) Ziva, lock the station down. (ON CAMERA) Nothing leaves. TONY: Which way, McGee? MCGEE: I don't know. He went offline. GIBBS: Dinozzo. TONY: Yeah, Boss? MANN: Have security block all exits. TONY: I'm on it! CUT TO: INT. DELI COUNTER (MUSIC OVER ACTION/MAMOUN SHARIF COUNTS BILLS) MAMOUN SHARIF: Keep the change. CLERK: Thank you, Sir. ANNOUNCER: (OVER PA) Train number eighty-four.... is now boarding on track eighteen. CUT TO: INT. GRAND HALL - DAY (F/X: SLOW MOTION/GIBBS WALKS PAST MAMOUN SHARIF) (INTERCUT FLASHBACK SCENE) (SFX: gn) MCGEE: (ECHO SFX) Boss, are you all right? GIBBS: (SHOUTS) NCIS! Get down on the ground, Sharif! (SFX: VOICES SHOUT B.G.) (MUSIC OVER ACTION/MAMOUN SHARIF RUNS/ THROWS MONEY INTO THE AIR) GIBBS: Get the money! MCGEE: What about Sharif!? GIBBS: I got him! I got him! MCGEE: Don't touch the money! MANN: (OVERLAP) The money's contaminated! Put it down! MCGEE: The money's been poisoned! Put it down. CUT TO: INT. HALLWAY - DAY (MUSIC OVER ACTION/MAMOUN SHARIF RUNS INTO THE MEN'S ROOM/ GIBBS FOLLOWS/ STUMBLING) GIBBS: It's over, Sharif. (SFX: GIBBS STUMBLES AROUND THE BATHROOM) MAMOUN SHARIF: Is something wrong, Agent Gibbs? (SFX: GIBBS STUMBLES/FALLS) GIBBS: What did you do? MAMOUN SHARIF: Those lovely hand tools. Undetectable until it reaches your bloodstream. A little early, but I am not complaining. (SFX: GIBBS STRUGGLES WITH MAMOUN SHARIF) MAMOUN SHARIF: Their names were Cassandra, Dmitri, and Bashira. They were my family. Until one of your country's smart bmb was not too smart. Do you know what it's like to lose your family? They say everyone you kll, you just make ten more like me! But I think today, just one will be enough. (SFX: gn) TONY: Hang on, Boss. National Guard's here. They've got the antidote. MCGEE: You're going to be all right, Boss. MUSICAL DISSOLVE TO: INT. MANN'S BEDROOM - NIGHT REPORTER: (ON TV) ... which happened today. Station officials have said certain areas will remain closed for further... (SFX: CELL PHONE RINGS) MANN: (INTO PHONE) Hello? I thought you were still recuperating. Oh, I... yeah, I'll buzz you in. GIBBS: You know, you don't need to. Your door was unlocked. MANN: Yeah, but uh... my doorbell works. GIBBS: Well, then I guess we're even. MANN: So uh... you feeling better? GIBBS: Yeah, I'm ... sure feeling better than Dinozzo. He was about ready to kll himself when he had to burn that hundred grand. (SFX: MANN CHUCKLES) GIBBS: I came by to say thank you. MANN: You're welcome. (MUSIC OVER ACTION/GIBBS AND MANN KISS) MANN: Is that all you came for? GIBBS: Well, it's a start. MANN: (BREATHLESSLY) Okay, before we do this, I just need to know one thing. How'd you get that damn boat out of your basement? (MUSIC UP AND OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x13 - Sharif Returns"}	foreverdreaming
MUSIC IN: EXT. STREET - DAY (MUSIC OVER ACTION/GOLIATH QUICKLY WALKS DOWN THE STREET TOWARD THE PARKING LOT) (SFX: SUV ENGINE STARTS) (MUSIC OVER ACTION CHASE SCENE/ CAR CHASES GOLIATH) (SFX: GOLIATH SHOUTS/ GRUNTS/ STRUGGLES) (MUSIC OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. GULFSTREAM JET - DAY "BLOWBACK" GIBBS: (V.O.) T.V. drama. Eight letters down. TONY: Uh... Saint Elsewhere? Oh, uh... good morning, Sunshine! GOLIATH: Where am I? TONY: (YAWNING) Tenerife, which is the Canary Islands. We're almost there. GOLIATH: Where? TONY: Hey, what kind of clubs do they have in Morocco? GIBBS: We're not going to Morocco. TONY: Come on, on our way back? GOLIATH: On the way back from where? TONY: Oh, I'm sorry. They only gave you a one way ticket. GOLIATH: Who are they? TONY: Here's the deal. We jump into Casablanca, ht Rick's Café for a little cocktail. I could tickle the ivories. Here's looking at you, kid. And then we're back to D.C. Nobody knows. GOLIATH: Who are you people?! TONY: Couriers. Delivering a package. As a favor to our Israeli friends. GOLIATH: Package? GIBBS: Don't take it personal, Goliath. TONY: Yeah, can I ask you about that? Every arms dealer I meet, they have the cheesiest code names? I mean, Goliath? Did you choose that? GOLIATH: You are CIA, yes? (SFX: GIBBS AND TONY LAUGH) TONY: Well, this should be interesting. Goliath, I'd like you to meet one of our Israeli friends. (SFX: ZIVA SLAPS GOLIATH) ZIVA: (IN HEBREW) You are a traitor, To our country and our people. GOLIATH: (IN HEBREW) I never sell wapon to Hamas or Hezbollah! ZIVA: You sell to people who do! TONY: You're lucky she doesn't have her slingshot. ZIVA: Still waiting for clearance to take off. The pilot says we'll only be on the ground for a couple of minutes when we reach Zaire. It's much too dangerous to stay there any longer. GOLIATH: Zaire? You're taking me to Zaire? ZIVA: You sold a shipment of RPGs to their army. They were very disappointed with the quality of the merchandise. TONY: I believe the President of Zaire himself, is eager to discuss how you stiffed him. ZIVA: He, in turn, has some information Mossad needs. TONY: And we owe Mossad a little favor, because they told us you were in D.C. and... so here we are. We deliver you to Zaire, the President gives the Israelis whatever information they want and everyone is happy. ZIVA: Well, not everyone. PILOT: (V.O./FILTERED) We are cleared for takeoff. Fasten your seatbelts.(SFX: SEAT BELT CHIMES B.G.) GOLIATH: Please. GIBBS: Yeah? GOLIATH: I am very wealthy. I have diamonds. TONY: Ooh. You had diamonds. This jet is very expensive, and somebody had to pay for it. GOLIATH: I know things. TONY: Yeah. How to trade wapon for diamonds. We got that. GOLIATH: I'll trade information. TONY: And what could you know that would interest the CIA? ZIVA: (CHUCKLES) He thinks we're the CIA?(SFX: ALL LAUGH) GOLIATH: Well, the CIA, F.B.I., NSA - what difference does it make? I have information to trade for my life. (bat) ARES. TONY: Cancer. GIBBS: Virgo. ZIVA: Scorpio. GOLIATH: No, your Navy's encrypted satellite system. ZIVA: Not my Navy. GOLIATH: The American Navy. They use it to send target coordinates to cruise mssile. TONY: Did you get that out of Jane's, Goliath? GOLIATH: What if Iran possessed it? Or North Korea? In the wr, they can intercept and change cruise mssile coordinates. Send them to Tel Aviv. Seoul. Or even return to sender. TONY: But they don't have ARES. ZIVA: Sit back, relax, and try to enjoy the rest of your miserable life. GOLIATH: ARES is for sale. And I know who is selling it. CUT TO: INT. ABBY'S LAB - DAY GIBBS: (V.O./FILTERED) The guy we're after is Charles Harrow. There should be an email from him on Goliath's computer. MCGEE: Ah, Charles Harrow. Right. ABBY: We have to tell him.(BEGIN TELEPHONE INTERCUTS) GIBBS: Tell me what? ABBY: (V.O./FILTERED) Wow, Gibbs. (SCENE CUT) ABBY: (INTO PHONE) Nothing wrong with your hearing. MCGEE: Boss, this may take a while. GIBBS: (V.O./FILTERED) Hey, McGee. (SCENE CUT) GIBBS: (INTO PHONE) Even I can download an email. MCGEE: (V.O./FILTERED) Well, you know your user name... (SCENE CUT) MCGEE: (INTO PHONE) ... and password. ABBY: (INTO PHONE) We haven't even penetrated Goliath's screen saver yet, Gibbs, which is a bitchin' picture of a Greek island. At least I think it's a Greek Island. MCGEE: (V.O.) Well, it's (SCENE CUT) MCGEE: (V.O./FILTERED)...definitely the Aegean Sea. That blue is too... GIBBS: (INTO PHONE) Paragon. MCGEE: (V.O./FILTERED) Paragon? (SCENE CUT) (ABBY HITS MCGEE) MCGEE: Hey! ABBY: I'm just doing what Gibbs would do if he were here. Paragon is Goliath's username. MCGEE: Oh. (INTO PHONE) Okay, uh Boss, you wouldn't happen to have... GIBBS: (V.O./FILTERED) Delta... (SCENE CUT) GIBBS: (INTO PHONE) Seven one zulu three nine kilo five. (SCENE CUT) MCGEE: Oh, we're in! ABBY: (INTO PHONE) Gibbs, you slayed Goliath. GIBBS: (V.O./FILTERED) Well, Abs... (SCENE CUT) GIBBS: (INTO PHONE) It was either him or you. (END TELEPHONE INTERCUTS) MUSICAL BRIDGE TO: EXT. GULFSTREAM JET - DAY (SFX: HATCH OPENS) GOLIATH: This isn't Tenerife. TONY: Well, I told them to take a left at Bermuda. CUT TO: INT. SQUAD ROOM - DAY (SFX: CELL PHONE RINGS) TONY: (INTO PHONE) This is Tony. MCGEE: Boss, found that email. Harrow has a villa for sale on Santorini. That's... ZIVA: Greek island in the Aegean. MCGEE: Right. And he's asking twenty million, but Goliath doesn't want to pay more than-- GIBBS: Fifteen. MCGEE: But uh... but I don't think that the villa... GIBBS: Is what he's selling? MCGEE: Right. So I have pulled everything that I can find on Charles Andrew Harrow. Age sixty-eight. Civilian encryption specialist employed by the D.O.D. until he retired three years ago. His most notable project was... GIBBS: ARES. Top secret NAVY encrypted satellite targeting system, named after... MCGEE: A Greek God of wr. GIBBS: Right. Is that all? MCGEE: No. No, I'm also running Harrow's phone and email records for the past ninety days against databases of known arms dealers. No hits yet, but I did just start. GIBBS: Two-oh-five Rosewood Drive, Northwest D.C. Is that address still good? MCGEE: As far as I know. GIBBS: Dinozzo, Ziva, go get him. ZIVA: Uh... Gibbs? GIBBS: McGee. MCGEE: Right. CUT TO: INT. BEHIND MTAC STAIRS - DAY TONY: (INTO PHONE) My pulse is racing, Doctor. My heart is throbbing. I've done a self diagnosis here, and uh... it's not good. I need some relief from the good doctor. (bat) I gotta go! (TO GIBBS) I was just... um... I've got to get back to work. MUSICAL BRIDGE TO: INT. CAR - MOVING MCGEE: (V.O.) These streets are like a maze. ZIVA: I told you I couldn't program the navigator. I'm a driver. MCGEE: Ziva, I've driven with you before. I'd rather be lost than dad. Two-oh-five Rosewood Drive, Northwest. That's it. It's the one with the car pulling out of the driveway. ZIVA: We could race ahead, swerve right, brake hard, and cut him off. MCGEE: Or we could just wait for him to stop. CUT TO: INT. SQUAD ROOM - DAY TONY: Uploading Goliath's file into the database, Boss. GIBBS: Briefing paper? TONY: Done. GIBBS: Audio of interrogation? TONY: Being transcribed. You know, Goliath's right, Boss. I ran North Korea. Even some of our allies would pay a fortune to get their hands on ARES. GIBBS: Do you think, Dinozzo? (SFX: COMPUTER BEEP TONES) TONY: It looks like McGee's got a name match off of Harrow's emails. Trent Kort. He's on the F.B.I. arm's-dealer watch list. GIBBS: How old? TONY: Ah, five days. McGee's computer... uh, bio's thin. Trent Thomas Kort, thirty-seven years old. British National. Believed to have recently joined...(SFX: COMPUTER BEEP TONES) CUT TO: EXT. TARMAC - FLASHBACK KORT: Smiles for me, dear boy. CUT TO: INT. SQUAD ROOM - DAY GIBBS: Hey, do you know this guy? TONY: No, I've never seen him before. Those Hawaiian shirts....(READS) "believed to have recently joined La Grenouille, an international arms dealer, fronting corporations in Paris, Nairobi, Cape Town. (MUSIC UP AND OUT) MUSIC IN: INT. SHEPARD'S LAB - DAY (DOOR OPENS) TONY: I know - ah, sorry. Cynthia wasn't at her desk so... SHEPARD: So you barged in, Dinozzo? CYNTHIA: That should hold until you get home, Director. SHEPARD: Thank you, Cynthia. (DOOR CLOSES) SHEPARD: I broke a bra strap, and I had Cynthia get me a safety pin. I don't even know why I'm telling you this. TONY: To ease the awkwardness of the moment. SHEPARD: Hmm. We know each other so well, Tony, there are no awkward moments. TONY: Yeah. May I? Charles Harrow. Retired puzzle maker. (SFX: KEYBOARDING) SHEPARD: For who? TONY: Us. Literally us. He designed ARES. It's the Navy's cruise... SHEPARD: mssile targeting system. He come out of retirement? TONY: In a way. He's offering ARES in a one-off to the highest bidder. SHEPARD: La Grenouille. TONY: He's one of the bidders. SHEPARD: How did we come by this? TONY: Mossad passed intel onto Ziva about an international arms dealer, code name, Goliath. SHEPARD: I've heard of him. He's Israeli. TONY: TONY: And Ziva didn't take too kindly to that. He's rumored to be bidding on a stolen Navy wapon system. We snatched him this morning. Got him downstairs on a visa violation. His computer is in Abby's lab. (CONT.) And we were running Harrow's cell calls and emails for known arms dealers when... this guy popped off an F.B.I. watch list. Name is Trent Kort. SHEPARD: You took that picture eight weeks ago. Why are we just getting a name now? TONY: I have no idea. I ran that photo against all agency watch lists, including the F.B.I., and I got nothing. SHEPARD: It doesn't matter. This is good. TONY: And it's bad. I had to lie to Gibbs. SHEPARD: You were on an undercover mission. TONY: He's my boss. SHEPARD: And I'm his boss. You leave him to me. Your ass is covered. TONY: I'm not worried about my ass, Jenny! SHEPARD: Gibbs put Harrow under surveillance? TONY: No. SHEPARD: No? TONY: He sent Ziva and McGee to pick him up. SHEPARD: (INTO INTERCOM) Cynthia, get Agent Gibbs in here ASAP...(DOOR OPENS/ CLOSES) GIBBS: You send for me, Director? SHEPARD: Call Ziva and McGee off. GIBBS: Off, Director? SHEPARD: They are not to pick up .... TONY: Harrow. SHEPARD: Harrow. GIBBS: Charles Harrow is offering a top secret Navy wapon system to the highest bidder. It could be in the hands of Iraq or... SHEPARD: Damn it, Jethro! This an order! Call them off! MUSICAL BRIDGE TO: INT. CAR - PARKED ZIVA: Just when you begin to assimilate to American culture, you see a grown man getting his nails done. MCGEE: There's nothing wrong with a man treating himself to a manicure. ZIVA: Don't tell me, McGee. (LAUGHS) MCGEE: I have sensitive cuticles.(ZIVA BREATHES DEEPLY) CUT TO: EXT. STREET - DAY (MUSIC OVER ACTION/HARROW WALKS DOWN THE SIDEWALK) (ZIVA AND MCGEE FOLLOW) (SFX: CELL PHONE RINGS) MCGEE: It's Gibbs. ZIVA: Answer it. MCGEE: (INTO PHONE) Yeah, Boss? HARROW: Yes? MCGEE: Ah, sweet cheeks? It's okay. We're all set. ZIVA: We are? MCGEE: Yeah, my brother just called, gave me directions. You know the Washington Monument. Who thought it'd be so tough to find. Thanks anyway. HARROW: No problem.(ZIVA AND MCGEE WALK O.S.) ZIVA: What just happened? MCGEE: Change of plans. Follow. Do not approach. CUT TO: INT. SQUAD ROOM LANDING - DAY GIBBS: You haven't been straight with me since I... SHEPARD: Quit? GIBBS: Retired. SHEPARD: When you left on your margarita safari... GIBBS: Margarita safari? SHEPARD: This agency didn't shut down. New operations were put in motion. One sent Tony undercover. GIBBS: Well, I'm back and I won't have a part-time senior field agent. SHEPARD: It's your own fault, you know. GIBBS: For what? Leaving or coming back? SHEPARD: For teaching me your rules. Best way to keep a secret, keep it to yourself. Second best, tell one other person if you must. There is no third best. That's rule number four, isn't it? GIBBS: Number one supersedes all of the others. SHEPARD: Mm, never screw your partner? GIBBS: Never screw over your partner. SHEPARD: I never screwed you over. And I'm not your partner. I'm your boss. CUT TO: INT. SQUAD ROOM - DAY TONY: McGee's search is kicking out another bidder. (TO GIBBS) Hey, Boss! McGee's got something. What is it with these wacky code names? SHEPARD: Anonymity deflects more bllts than body armor. TONY: Well, this one's a woman. The Black Rose. SHEPARD: Rose O'Leary. She ran gn for the IRA until peace broke out. Who's flagged her? TONY: M-I-Five. They were tracking her in Africa. Lost contact six days ago. They think she slipped aboard a Variq flight to Brazil using the name Grace O'Malley. (SHEPARD CHUCKLES) GIBBS: That's funny, Director? SHEPARD: Grace O'Malley was a sixteenth century Irish pirate. What's her bid? TONY: Less than La Grenouille. Only eighteen mil. GIBBS: Unless her bid was in Euros.(GIBBS WALKS O.S.) TONY: Dollars. It's in dollars. Think he'll ever forgive us? SHEPARD: Send me a hard copy when the data's in. TONY: Yeah, that's what I think, too. CUT TO: INT. MEN'S ROOM - DAY (DOOR OPENS) (GIBBS AND TONY STAND AT THE URINAL) GIBBS: Are you following me? TONY: (CHUCKLES) No. Why would I do that? GIBBS: I was just asking myself the same question. (SFX: TONY WHISTLES) GIBBS: Want me to run some water? TONY: No, I'm all right. I just.... GIBBS: Ah, just say it, Dinozzo. TONY: I'm sorry, Boss. I uh... I've been wanting to tell you for a long time, but the situation is... GIBBS: Complicated? TONY: Exactly. Director's got this really strict rule about ... GIBBS: Secrets. TONY: Yeah. The point is, I owe you everything. You taught me how to do this job. I never wanted to lie to you. GIBBS: Hell, Dinozzo, you were following orders. I would have done the same thing. TONY: Would you? GIBBS: Yeah. TONY: You would have lied to Mike Franks?(SFX: GIBBS THROWS TRASH IN THE CAN) (DOOR OPENS/ CLOSES) CUT TO: EXT. STREET - DAY (MUSIC OVER ACTION/ZIVA AND MCGEE FOLLOW HARROW) MAX: They may do it a little different, you know, but it's all the same. Hey, let's see what she has to say. HURLEY: Ah, look, will you settle something for me and my friend MAX: We really need a woman's point of view. ZIVA: Hey, go ask your mom. MAX: It's a simple question. ZIVA: Let go of me. MAX: See? I told you. All beautiful women are bitches. (MUSIC OVER ACTION/ZIVA FIGHTING HURLEY AND MAX) ZIVA: He's spotted us! (MUSIC OVER ACTION/ZIVA AND MCGEE CHASING HARROW) (SFX: HARROW STRUGGLES RUNNING UP THE STAIRS/ GASPING FOR AIR) (SFX: ZIVA PERFORMING CPR) ZIVA: (COUNTS) One, two, three, four, five. DISPATCHER: (V.O./FILTERED) Nine-one-one. MCGEE: (INTO PHONE) We have a man down with a heart attck. La Fonte Plaza steps. (MUSIC UP AND OUT) FADE IN: EXT. STREET - DAY SHEPARD: You were supposed to keep Mister Harrow under surveillance, not chase him into a coronary! MCGEE: Director, once he made us, we had to take him into custody, didn't we? ZIVA: No, the Director's right. We could have let Harrow escape. If he sold ARES, we could have caught Black Rose or La Grenouille selling it to Iran.... SHEPARD: Don't be cute, Officer David. I'm saying there had to be a better way. Right Tony? TONY: Ah, that's right, Director. He could have... GIBBS: sht him. TONY: That's right. They could have sht him. GIBBS: Of course, in high octane situations, Ziva reverts back to her Mossad training, and probably would have put a round through his heart. ZIVA: Three rounds. GIBBS: And McGee, not to be outdone, would have .... MCGEE: Added three more rounds. SHEPARD: Gibbs. GIBBS: See? There you go. Six rounds, same result. One dad Mister Harrow. DUCKY: I signed for the body. Cause of death was most likely a.... am I interrupting? SHEPARD: Not at all, Doctor. We were just discussing the various ways NCIS could have klled Mister Harrow, besides chasing him to death. DUCKY: I am interrupting. SHEPARD: Doctor, death was most likely caused by....? DUCKY: A myocardial infarction that was probably brought on by a combination of the high fat Western diet, little exercise, and the mistaken belief that he could run up all those stairs. Rigorous for most. Rigor mortis for him. SHEPARD: Anything else? DUCKY: Well, not until I do the autopsy. (SHEPARD WALKS O.S.) DUCKY: Oh. What is going on? TONY: I think the Director is afraid Harrow's family might sue us. GIBBS: Whatever she's thinking about, it's not ARES. CUT TO: INT. CAR - MOVING ZIVA: That's ARES? TONY: According to McGeek - Ziva, watch the road!(SFX: CAR HORN HONKS B.G.) ZIVA: I have great peripheral vision. TONY: My sphincter doesn't. ZIVA: Well, at least we won't have trouble finding it. TONY: Really? ZIVA: Tony, it's the size of an ATM. TONY: Well this is the controller console, and this ... ZIVA: Your mystery woman! TONY: Watch the road! ZIVA: Oh, yes it is, isn't it?! TONY: No, this is no one! It's McGee's idea of a prank. This is the pirated part of ARES we have to find. ZIVA: Twenty million for that? TONY: Well, size doesn't mat - forget I even stupidly started to say that. CUT TO: EXT. HOUSE - DAY ZIVA: Will you tell me her name if I find the pirate's copy of ARES? TONY: Pirated copy. ZIVA: That's what I said. TONY: No, you said pirate's copy. A pirate is a person like Captain Jack Sparrow. A pirated copy-- ZIVA: Who is Jack Sparrow? TONY: Johnny Depp. ZIVA: He's a pirate? TONY: No, he's an actor. ZIVA: Oh. TONY: How did we get here? ZIVA: I drove. (DOOR OPENS) CUT TO: INT. HOUSE - DAY (SFX: DOOR CREAKS OPEN) ZIVA: This is going to be like looking for a needle in a needle stack. TONY: Needle in a haystack. ZIVA: I like my description better. CUT TO: INT. HALLWAY - DAY (SFX: SCANNER) (DOOR OPENS) CUT TO: INT. MTAC - DAY (DOOR CLOSES) GIBBS: Sitting in the dark, staring at photos of your enemies could be considered obsessive. SHEPARD: Kind of like building a fourth boat when you haven't even sailed the first three. GIBBS: How well do you know the Black Rose? SHEPARD: Well enough to know that I'd like her if she wasn't an arms dealer. GIBBS: And The Frog? La Grenouille means the frog. SHEPARD: I know what it means. GIBBS: Well, why don't you call him that? SHEPARD: La Grenouille is his code name. GIBBS: Well, I'm going to call him Frog. (SFX: GIBBS CROAKS LIKE A FROG) SHEPARD: Spit it out, Jethro, before it gags you. GIBBS: You were out of control today. Why? The deal died with Harrow. SHEPARD: His copy of ARES might still be in play. GIBBS: You don't want ARES, you want him. SHEPARD: Damn right I want him. I have been trying for a decade to bring him down. GIBBS: So it is personal. What did he do to you, Jenny? SHEPARD: You have no need-two-know, Special Agent Gibbs. MUSICAL BRIDGE TO: INT. ABBY'S LAB ABBY: (V.O.) Wow! And McGee, this is like Christmas all over again! Look at this baby. Firewire, USB, a terabyte of storage. That's a thousand gigabytes of fun. MCGEE: Well, to be accurate, it's a thousand twenty-four gigabytes of fun. I'll bet you all of them are encrypted. It'll take us years to access all the stuff on these computers. ABBY: You didn't think it was going to be easy, did you? MCGEE: I'm hoping I'd get lucky. I guess I wasn't the only one hoping to get lucky. Huh. These have been opened and resealed. ABBY: Eeuh. MCGEE: Huh. USB micro-drives. Six of them. ABBY: ARES. MCGEE: The software portion. We still need to find the circuit board. Ah, it's got to be here somewhere. ABBY: Wow. I guess everything can't be state-of-the-art. MCGEE: Well, that laptop's got to be nearly twenty years old. ABBY: Hey, maybe it has the original Donkey Kong on it. McGee! How can a twenty-year-old computer have dual firewire connections? MCGEE: It can't. Firewire has only been around about ten years. ABBY: Somebody should have told Harold. MCGEE: It sure looks like an old luggable. ABBY: All right, it should take at least thirty seconds for this to.... Oh. MCGEE: That cunning old fox! He put a new computer in an old skin. ABBY: I like this guy. I mean, aside from the fact that he was about to commit treason. That's the same screensaver that Goliath had. MCGEE: I'll bet you the circuitry to run ARES is hardwired into the motherboard. Abs, I think we found ARES. ABBY: Yes!! CUT TO: INT. SQUAD ROOM - DAY MCGEE: The software was stored on micro-drives hidden in condoms. And we analyzed every detail, the source code to the circuitry of the motherboard-- GIBBS: McGee. MCGEE: It's like PS - Three. You can't play Killzone without the hardware to run it. GIBBS: PS-Three? MCGEE: Game console. Atari? Commodore Sixty-four? GIBBS: The software is useless without the hardware. MCGEE: You got it. GIBBS: Why didn't you say that? SHEPARD: You found ARES? MCGEE: Yes. Here is it, Director. Live from Abby's lab. GIBBS: You don't seem very happy. SHEPARD: Any more bids? TONY: No. La Grenouille was the high one. Not that it matters, but... SHEPARD: (OVERLAP) Did Harrow arrange the drop off? MCGEE: I checked his Blackberry. This guy writes down every appointment and meeting. Nothing. ZIVA: No phone calls or emails in the last six hours before he died. MCGEE: We were monitoring his - he had coffee! (INTERCUT FLASHBACK SCENE OF THE COFFEE SHOP) MCGEE: The café had internet access. ZIVA: Trimana Café. Thirty-fifth Street. MCGEE: I've got it. ISP provider. TONY: Can you do this to anyone's email? MCGEE: No. 'Cause this is highly illegal, and I'm not even doing it now. Okay, we're in. At one forty this afternoon, Harrow sent two emails from that ISP. One to Black Rose. ZIVA: Tell her the bad news, no doubt. MCGEE: And one to La Grenouille. (READS) "Congratulations on a winning bid. Upon receipt of your funds, Title to the Santorini Villa at - he lists the GPS coordinates - will be transferred at midnight Tuesday. ZIVA: That's ten minutes from now. Same time zone as Israel. GIBBS: McGee, put that email up on the plasma. (SFX: COMPUTER BEEP TONES) GIBBS: Those coordinates aren't Greece. (SFX: COMPUTER BEEP TONES) MCGEE: It's Quebec! SHEPARD: We've got five hours! GIBBS: Aren't you forgetting something? SHEPARD: I'm not going to let a few miles of Canadian border stop me. GIBBS: That's not what I meant. The Frog is expecting to meet Harrow, and Charles Harrow is dad. (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - DAY MCGEE: Aeroport de Sherbrooke, southeastern Quebec. It's thirty miles across the border from New Hampshire. That puts La Grenouille right in our backyard. GIBBS: Did I miss Quebec becoming the fifty-first state? SHEPARD: I'm not going to watch that bastard fly away again, Jethro. GIBBS: Again? ZIVA: Why don't we snatch him when he lands, toss him in the back of the trunk, and drive over the border. MCGEE: That might work where you grew up, Ziva, not here. SHEPARD: Why not? TONY: Okay, I'm down with the border snatch. What do we charge him with? Bidding on a Greek villa? MCGEE: Tony's right. We've got nothing on Grenouille until he buys ARES. TONY: Since Harrow's dad, that can't happen. GIBBS: Does The Frog know that Harrow is dad? ZIVA: Probably not. MCGEE: And if he never met him... SHEPARD: All we need is a sixty-eight year old Englishman. DUCKY: (V.O.) Is it pronounced.... CUT TO: INT. SQUAD ROOM - DAY DUCKY: .... Harrow or Hairrow. ZIVA: Harrow, Ducky. Charles Andrew Harrow. MCGEE: Okay, Ducky, now pay attention. ARES... DUCKY: Are you certain? Because I was in medical school with an Ian Hairrow. He spelled it the same way. MCGEE: Ducky, please pay attention. I am trying to give you a crash course in one of the Navy's most complex wapon systems. DUCKY: Oh, sorry. ZIVA: You look dashing, Ducky. DUCKY: Yes, I used to wear a mustache in Singapore when I was attached -- MCGEE: ARES is an encryption-decryption system. That means that it's used to encode and decode information. In this case, GPS targeting information for the Navy's cruise mssile. ABBY: It operates by using the algorithm known as IDEA. It's the same algorithm used for all RSA Legacy keys generated by PGP. MCGEE: It uses a variable-length key, from thirty-two bits to four hundred and forty-eight bits. Questions so far? DUCKY: Are you sure it's not Hairrow?(SFX: ZIVA CHUCKLES) TONY: It's a ten hour drive to the Canadian border. We're going to have to go without a surveillance van. SHEPARD: I've got it covered. TONY: She's got it covered? How? GIBBS: Let's just say it's a favor you and I couldn't have called in. ABBY: I know it doesn't look like much, but inside is twenty million bucks worth of ARES. SHEPARD: Guard it with your life. ZIVA: Of course. (SFX: ZIVA STUMBLES) ZIVA: Ooh! (LAUGHS) I find a little levity at the start of a mission relaxing. MCGEE: Boss, we've got a problem. GIBBS: Just one, McGee? MCGEE: Grenouille is sure to have someone there to vet ARES. Now, if someone asks Ducky to explain something, his duck is cooked, no pun intended. GIBBS: Well, that's why you're going to be there with him, McGee. ABBY: Okay, just remember, Ducky... DUCKY: Charles. ABBY: What? DUCKY: My name is Charles Harrow. SHEPARD: Charles, you've got a plane to catch. DUCKY: Yes, and an arms dealer. Mind if I have the window seat? MUSICAL BRIDGE TO: EXT. AIRPORT - NIGHT TONY: (V.O.) Gulfstream Five. Registration, two-one-eight-echo. MCGEE: (V.O./FILTERED) Copy you, Archangel. TONY: They flew into Washington in a different G-Five when I tagged the luggage. ZIVA: Tagged their luggage? Oh, that's when Jenny had you... undercovers. TONY: Undercover. Not undercovers. MCGEE: Two-one-eight Echo is a... CUT TO: INT. MTAC - NIGHT MCGEE: (V.O./FILTERED) ...Sorbonne Air Charter out of Orly Sud. It's been refueled and flight filed. TOD - twenty-four hundred. GIBBS: Thirty-five minutes. This is your op, Director. SHEPARD: Bring Ducky online. MCGEE: Sound check, Ducky.(BEGIN TELEPHONE INTERCUTS) DUCKY: (INTO PHONE) Now I know why they call these wretched things.... (SCENE CUT) DUCKY: (V.O./FILTERED) ...earwigs. SHEPARD: (INTO PHONE) Make the exchange, Doctor, and get out. (SCENE CUT) SHEPARD: (V.O./FILTERED) I don't want you caught in the middle of a firefight. DUCKY: (INTO PHONE) That's very considerate of you, Director. (SCENE CUT) SHEPARD: (INTO PHONE) And Ducky, thank you. (SCENE CUT) DUCKY: (INTO PHONE) It's a pleasure. (SFX: CAR ENGINE STARTS) DUCKY: Tally-ho. (END TELEPHONE INTERCUTS) CUT TO: INT. MTAC - NIGHT SHEPARD: Six months of undercover work, and it all comes down to Ducky. WOMAN: (V.O./FILTERED/IN FRENCH) May I help you? DUCKY: (V.O./FILTERED/IN FRENCH) Charles Harrow. La Grenouille is expecting me. WOMAN: (V.O./FILTERED/IN FRENCH) One moment, Mister Harrow. DUCKY: (V.O./FILTERED) Well, that was easy. When this is over, you really should talk to somebody about security. SHEPARD: (V.O./FILTERED) I'll take that (ON CAMERA) under advisement. DUCKY: (V.O./FILTERED) Yes, a trror1st could hire a car and - wait a minute! QUINN: (ON MONITOR) Identification, please. SHEPARD: (V.O.) Martin Quinn. He flew in with La Grenouille's... CUT TO: INT. CAR - NIGHT SHEPARD: (V.O./FILTERED) ... advance party two months ago. QUINN: Open the trunk, please. CUT TO: EXT. BUILDING ROOFTOP - NIGHT ZIVA: And you wanted to hide in the boot. TONY: You didn't take me seriously, did you? ZIVA: (V.O./FILTERED) Huh. CUT TO: EXT. TARMAC - NIGHT QUINN: With me. (MUSIC OVER ACTION/CAR DRIVES TO THE GULFSTREAM) QUINN: All right, hold it there. KORT: Charles Harrow? DUCKY: You say that as if you're surprised to see me. CUT TO: INT. GREEN CUBE TRUCK MCGEE: Uh-oh. SHEPARD: (INTO RADIO) Archangel, Ducky might have been compromised. CUT TO: EXT. BUILDING ROOFTOP - NIGHT ZIVA: (INTO RADIO) Archangel has him covered. CUT TO: EXT. TARMAC - NIGHT KORT: You have ARES? DUCKY: You have the twenty million? CUT TO: INT. GREEN CUBE TRUCK - NIGHT GIBBS: He's a natural. SHEPARD: Maybe, but he's making me nervous. KORT: (V.O./FILTERED) Regina! CUT TO: INT. GREEN CUBE TRUCK - NIGHT REGINE SMIDT: (ON MONITOR/FILTERED) Hello. DUCKY: (ON MONITOR/FILTERED) Ah, your hand -- CUT TO: EXT. ROOFTOP - NIGHT GIBBS: (V.O./FILTERED) Tell him to hand over the damn laptop, McGee. DUCKY: (V.O./FILTERED) Ducky... CUT TO: INT. GREEN CUBE TRUCK - NIGHT MCGEE: (INTO RADIO)...give her the laptop. CUT TO: EXT. TARMAC - NIGHT REGINE SMIDT: May I? CUT TO: INT. GREEN CUBE TRUCK REGINE SMIDT: (ON MONITOR/FILTERED) This is ARES? DUCKY: (V.O./FILTERED) Never judge... CUT TO: EXT. TARMAC DUCKY: ... a computer by its shell, my dear. REGINE SMIDT: Password? CUT TO: INT. GREEN CUBE TRUCK DUCKY: (V.O./FILTERED) Raven. REGINE SMIDT: (ON MONITOR/FILTERED) Satellite uplink? MCGEE: (INTO RADIO) Built into the circuit board. DUCKY: (ON MONITOR/FILTERED) It's built into the circuit board. MCGEE: (INTO RADIO) Follow the onscreen instructions to lock onto a satellite. DUCKY: (V.O./FILTERED/OVERLAP) Follow the onscreen in-- CUT TO: EXT. TARMAC DUCKY: ... instructions to lock onto a satellite. REGINE SMIDT: Good. CUT TO: INT. GREEN CUBE TRUCK SHEPARD: Where's Grenouille? DUCKY: (V.O./FILTERED) Aren't you going to invite... CUT TO: EXT. TARMAC DUCKY: .... me in out of the cold, Monsieur Grenouille... CUT TO: INT. GREEN CUBE TRUCK KORT: (ON MONITOR) I would, but I'm not him.(SFX: CAMERA CLICK) CUT TO: INT. GREEN CUBE TRUCK SHEPARD: Finally. CUT TO: EXT. ROOFTOP GRENOUILLE: (V.O./FILTERED) I trust you'll forgive a rather... CUT TO: EXT. TARMAC GRENOUILLE: ... operatic entrance, Mister Harrow, but... CUT TO: INT. GREEN CUBE TRUCK GRENOUILLE: (ON MONITOR/FILTERED) ... I love theater. CUT TO: EXT. TARMAC DUCKY: (IN FRENCH) As do I. GRENOUILLE: (IN FRENCH) What is your favorite opera? DUCKY: (IN FRENCH) My favorite opera is Cosi fan tutte. Of course. GRENOUILLE: (IN FRENCH) I understand. DUCKY: (IN FRENCH) Yours? GRENOUILLE: (IN FRENCH) La forza del Destino". So dark. CUT TO: INT. GREEN CUBE TRUCK GIBBS: (V.O.) Why do they have to speak French? MCGEE: Well, we are in Quebec, Boss. (INTO RADIO) Ducky, English... GRENOUILLE: (IN FRENCH/OVERLAP/V.O.) ... a melody formidable. CUT TO: EXT. TARMAC MCGEE: (V.O./FILTERED) ...please. DUCKY: Yes, well, uh... shall we step out of the wind? GRENOUILLE: Of course. Perhaps your car, huh? (ON MONITOR) Too much time with even the most beautiful woman ... (ON SCREEN) can be boring. DUCKY: I... I wouldn't know, Monsieur Grenouille. GRENOUILLE: Ah, my nom d'guerre is for rivals and enemies. I choose to believe you are neither... call me Renée. DUCKY: Ducky. GRENOUILLE: Ducky? CUT TO: INT. GREEN CUBE TRUCK GRENOUILLE: (V.O./FILTERED) (LAUGHS) What an interesting nickname. DUCKY: (V.O./FILTERED) Yes, it's an unfortunate one I picked up CUT TO: EXT. TARMAC DUCKY: ...as a lad during the Blitz. Please. GRENOUILLE: Ah, merci. (DUCKY AND GRENOUILLE CLIMB INTO THE CAR) KORT: (INTO PHONE) Just run the damn photo. (TO QUINN) Where are you going? QUINN: Man wants his private cognac. KORT: You see anything out there? QUINN: Are you kidding? Canadians are in bed by nine. CUT TO: INT. RENTAL CAR - NIGHT (DOOR CLOSES) GRENOUILLE: Have you ever enjoyed a glass of L'Esprit de Courvoisier? DUCKY: The spirits of Courvoisier? No, I... (V.O./FILTERED) can't say I have. (DOOR OPENS) QUINN: Monsieur? GRENOUILLE: Ah. QUINN: (IN FRENCH) Voila. GRENOUILLE: (IN FRENCH) Merci. QUINN: (IN FRENCH) You're welcome. (DOOR CLOSES) GRENOUILLE: This will be a beautiful way to consummate the transfer of the villa. CUT TO: INT. GREEN CUBE TRUCK GIBBS: Le Froggie is more careful than Gotti. SHEPARD: That's why he's never been caught. DUCKY: (V.O./FILTERED) Oh, what a pleasure. CUT TO: INT. RENTAL CAR GRENOUILLE: Do you have children, Ducky? DUCKY: Sadly, no. GRENOUILLE: One of life's great gifts. I have three. And two grandchildren now. A girl and a boy. Everything I do now is for them. I am provider and protector in equal part. Napoleon... Napoleon was the first to drink this cognac at his coronation in eighteen hundred and two. And since then, only the very best vintage has been added to that. Two hundred years of empires, revolutions, and wr. DUCKY: History in a glass. (IN FRENCH)..... GRENOUILLE: (ON MONITOR) Salud. (INTERCUT SCENES) REGINE SMIDT: Kort? Something wrong? KORT: No. Is it worth twenty million in diamonds? REGINE SMIDT: More. The Iranian will give a hundred for it. KORT: Tell the pilots wheels up in five minutes. (SFX: JET ENGINES STARTING) CUT TO: EXT. ROOFTOP TONY: They're starting engines. CUT TO: INT. GREEN CUBE TRUCK DUCKY: (V.O./FILTERED) This Courvoisier is astonishing. CUT TO: INT. RENTAL CAR KORT: Regina approves. GRENOUILLE: Oh, excellent. (TO DUCKY) It's been a pleasure, Ducky. DUCKY: Yes, for me, too. CUT TO: INT. GREEN CUBE TRUCK SHEPARD: (INTO RADIO) Get... CUT TO: INT. RENTAL CAR SHEPARD: (V.O./FILTERED) ...the diamonds. DUCKY: Renee? Aren't you forgetting something? GRENOUILLE: Oh, my bottle of history is yours, my friend. Add to it well. DUCKY: I don't know what to say. CUT TO: INT. GREEN CUBE TRUCK ALL: Give me the diamonds! DUCKY: (V.O./FILTERED) Oh, yes. Well, uh... CUT TO: EXT. TARMAC DUCKY: Yes, I hate to be crass, but the diamonds? GRENOUILLE: (ON MONITOR) Yes, Kort has them. DUCKY: (V.O./FILTERED) Ah, very well. CUT TO: EXT. ROOFTOP ZIVA: (INTO RADIO) Archangel awaiting instructions. CUT TO: INT. GREEN CUBE TRUCK GIBBS: This was to be a snatch, wasn't it? Or did you have something else in mind?(SFX: CELL PHONE RINGS) GRENOUILLE: (IN FRENCH) Good bye. DUCKY: (IN FRENCH) Good bye. GRENOUILLE: (IN FRENCH) See you soon. DUCKY: (IN FRENCH) See you soon. SHEPARD: (INTO PHONE) Director Shepard. ZIVA: (V.O.) About to lose target. CUT TO: EXT. ROOFTOP ZIVA: (INTO RADIO) Target will be lost in five seconds. TONY: (INTO RADIO) Archangel requesting instructions. ZIVA: (INTO RADIO) Director? SHEPARD: (V.O./FILTERED) Stand down, Archangel! Stand down! (SFX: SHEPARD GASPS) CUT TO: EXT. TARMAC KORT: (ON MONITOR/FILTERED) Tell me you got the call. DUCKY: What call? CUT TO: INT. GREEN CUBE TRUCK SHEPARD: Yes, I got (V.O.) the damn call! CUT TO: EXT. TARMAC KORT: (V.O.) Your diamonds, (ON MONITOR) Doctor Mallard. (DOOR CLOSES) (MUSIC OVER ACTION/ GULFSTREAM TAKES OFF) CUT TO: EXT. GREEN CUBE TRUCK DUCKY: He knew my name! TONY: He's CIA. ZIVA: So was Harrow. MCGEE: It was a sting. GIBBS: We got stung. SHEPARD: No. We got screwed. DUCKY: One question. What do I do with these? CUT TO: INT. SHEPARD'S OFFICE GIBBS: Ah, how many are you keeping? SHEPARD: Did Ducky fix Harrow's time of death? GIBBS: Yeah. On the record, he will drop dad of a heart attck tomorrow. SHEPARD: Good. I wouldn't want Grenouille to discover he'd met a dad man. Harrow altered the ARES unit. Installed a Trojan horse. If the Iranians even try to use it, they'll be targeting their own defense systems. Quite a strategic advantage. GIBBS: I didn't need to know that. SHEPARD: Neither did I. But somebody thought they could trust me. I will get him, another time, another deal. I will be there, and I will get him. GIBBS: Are you sure you want to? SHEPARD: Of course I want to. GIBBS: Some people need to have someone to hate. SHEPARD: Not me. GIBBS: Then you should have let Ziva take the sht. (MUSIC UP AND OUT) (ENDING CREDITS UP AND OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x14 - Blowback"}	foreverdreaming
FADE IN: INT. ABANDONED RESTAURANT MARY: When you said we had reservations, David, I was picturing something a little more... upscale? DAVID: You don't recognize it. MARY: Should I? DAVID: Think back! MARY: Um... DAVID: I cannot believe you forgot! MARY: Oh, my god. This is where your grandmother choked to death on veal! DAVID: No! Okay, picture this. A small water fountain right there. We sat right here. (bat) You do remember! MARY: That we met here? Oh, I remember. I also remember it was over ten years ago, David. DAVID: Yeah, I guess that's kind of a long time to date. MARY: (CHUCKLES) Four's long. Twelve? DAVID: Pathetic, I know. I should have done this a long time ago. So... Mary Elizabeth Donahue, will you (STAMMERS) w-w-w... MARY: You can do it, baby! It's only four simple words. (SFX: DAVID STAMMERS) (SFX: MARY SCREAMS) (MUSIC OVER ACTION/MARY RUNS FROM THE RESTAURANT) (FADE TO BLACK) FADE IN: INT. GARAGE - DAY "FRIENDS & LOVERS" ZIVA: (V.O.) Every Knfe has its own individual balance. The trick is to find it. (ON CAMERA) When you do... you get this. Any questions? (SFX: ZIVA THROWS A Knfe) MCGEE: Gibbs really approved this? ZIVA: Yes, McGee. Why do you keep on asking that? MCGEE: Well, because they give us Sigs for a reason. ZIVA: In Mossad we have a saying: knives don't run out of bllts. Now any questions pertaining this particular class? TONY: Yeah, I've got one for you. Did you ever kll anyone with a spoon? ZIVA: No. I am seriously considering it. All right, grab your knives. So, you come right past your ear. Once your arm is fully extended, you release. Tony!(SFX: ZIVA THROWS A Knfe) TONY: All right, watch and learn, Probi-sans. Five summers at Camp Poke-a-quatic. I'm also a pretty mean clogger. That doesn't leave this room.(SFX: TONY THROWS A Knfe) ZIVA: Nobody cares that you spent your summers prancing around in little wooden shoes. (SFX: TONY BANGS ON THE COUNTER) TONY: The term is dancing. ZIVA: McGee. (SFX: MCGEE THROWS A Knfe/ CLAMMERS TO THE FLOOR) TONY: (CHUCKLES) Math camp? MCGEE: Chess. But at least I didn't wear man-clogs. ZIVA: (LAUGHS) Lee. LEE: Okay. Right by my ear. (SFX: LEE THROWS A Knfe BACKWARDS) ZIVA: I thought you said you grew up around wapon? LEE: I did. I didn't say my father actually let me touch any of them. ZIVA: Okay. Uh... it's my fault, Gibbs. I was... GIBBS: (OVERLAP) Save it! We've got a dad sailor in Georgetown. Grab your gear. LEE: (TO GIBBS) Thank you. CUT TO: INT. ABANDONED RESTAURANT MORRIS: (V.O.) Pulled his I.D. Found our victim was a sailor. (ON CAMERA) Called you. Couple found him here last night. Supposedly this is where they had their first date. Guy got the keys from the landlord, and wanted to propose. TONY: Well, nothing says I love you like a rotting corpse in an abandoned crap hole. What did she say? CARSON: She says she wants this back before he changes his mind. TONY: Yeesh. And they say romance is dad. MORRIS: Wallet was found next to the body. No money, no credit cards. Just a military I.D. and driver's license. GIBBS: Robbed. MORRIS: I'd be curious to know how he died, Agent Gibbs. GIBBS: When I know, Detective Morris, you will know. MORRIS: I appreciate it. CARSON: I got the statements we took from the couple in my car. TONY: All right, you're on sketch details there, Probie. I'll tell you, this is making me nervous. (PASSAGE OF TIME) DUCKY: The larval stage of the Musca domestica, a common housefly. A nuisance to most, but invaluable to the trained investigator. JIMMY: Not to mention a great source of protein. I saw it on Discovery Channel. A documentary on survival training. DUCKY: Ah, as I was saying, they should prove helpful in determining the time of death. Unless of course, my assistant decides to eat them first. GIBBS: Temperature and current size, Duck? These eggs could have been laid in his mouth more than a week ago. DUCKY: Very good, Jethro. It's surprisingly warm in here. I'd estimate he's been dad somewhere between four and five days. GIBBS: Any idea how? DUCKY: Many, but with no obvious signs of trauma or injury, that will have to wait until we get him home. Let's get the gurney, Mister Palmer. GIBBS: McGee, what do you make of this? MCGEE: The word disgusting comes to mind. ZIVA: I think he was talking about the card. MCGEE: Oh, uh... maybe some kind of ticket. GIBBS: Find out for what. Ziva, photos. McGee, you find any more maggots walking around, you bag 'em. They're evidence. MCGEE: Ziva, I will give you a hundred dollars to trade with me. ZIVA: You're afraid of bugs, McGee? MCGEE: Bugs, no. Uh... wriggling, faceless, blob creatures crawling inside human flesh, yes. ZIVA: Believe it or not I used to feel the same way. MCGEE: How'd you get over it? ZIVA: I found that if you're hungry enough, they actually don't taste that bad. CUT TO: INT. SQUAD ROOM - DAY ZIVA: (V.O.) Our dad sailor is Petty Officer Evan Davidson. (ON CAMERA) A corpsman stationed at The Basic School at Quantico. Reported UA four days ago. TONY: Last seen Thursday night at a Georgetown bar. His Marine buds said he hooked up with a girl left before closing. Marines ever leave before closing? I'm going to head down to Quantico and get her description. GIBBS: McGee, tell me about the card we found on the body. (bat) Where is he? ZIVA: Apparently not here. (bat) I'll find him. MUSICAL BRIDGE TO: INT. BATHROOM - DAY (DOOR OPENS) ZIVA: Gibbs is looking for you. MCGEE: Um... Ziva, this is a men's room. You can't be in here. ZIVA: He wants to know what you found out about the pink ticket. (TO MAN) Hi. (TO MCGEE) Trying to wash the bug germs off, yes? MCGEE: Will you please leave? (SFX: TOILET FLUSHES) (DOOR OPENS) ZIVA: He didn't wash his hands. Eeugh. You need to learn to face your fears, McGee. I can help you with that. MCGEE: I do not need help, okay? I just don't like maggots. ZIVA: Why? MCGEE: Much like the concept of a men's room. It's personal. (DOOR OPENS) MUSICAL BRIDGE TO: INT. AUTOPSY ROOM - DAY DUCKY: Have you ever wondered why perfectly healthy individuals suddenly, and occasionally keel over and die, Mister Palmer? JIMMY: Well, now that you mention it.... DUCKY: DUCKY: No, no, no, no, no. It's a trick question. They don't. There is always a reason. Now take our Petty Officer, for example. (CONT.) On the outside he appears young, virile, perfect physical condition. Yet inside we find the liver of a seventy-five year old man. It is swollen, scarred, and well on its way to full-blown cirrhosis. JIMMY: He's an alcoholic? DUCKY: Was, Mister Palmer.(SFX: DOORS SLIDE OPEN/ CLOSED) GIBBS: Is that what klled him, Duck? DUCKY: No, but it was certainly a contributing factor. His blood alcohol level was five times the legal limit. I'm surprised he could stand, never mind break into an abandoned restaurant. And his preliminary tox screen also shows traces of ecstasy and other chemicals in his blood. Quite a volatile cocktail. GIBBS: What kind of other chemicals? DUCKY: Abby's running them right now. It appears our young man went on a bender on Thursday night, one from which he could not recover. GIBBS: He O.D.ed? JIMMY: That would explain the multiple organ failures we found. We won't know more 'til we finish the autopsy. DUCKY: Very good, Mister Palmer. Anything else you'd care to add? JIMMY: There's a very good chance that this is an accidental death, Doctor. GIBBS: Nothing accidental about it, Palmer. (SFX: DOORS SLIDE OPEN/ CLOSED) DUCKY: People who choose to live their lives this way, have nobody to blame but themselves! CUT TO: INT. ABBY'S LAB ABBY: (V.O.) I hereby accept your challenge. We will meet on the field at dawn. (ON CAMERA) wapon, caffeine-fueled intellect versus cold silicate-based intelligence. Until then, I bid you a good day, Sir! (bat) Hi. ZIVA: Hi. You talk to your mass spectrometer? ABBY: Yeah, sometimes. Why? MCGEE: You challenged it to a duel. ABBY: Well, it spit out a chemical composition that I'm not familiar with. There has to be some sense of decorum around here. I'm running it through the computer now. MCGEE: Well, Gibbs is more interested in this. Did you find anything yet? ABBY: When, McGee? If you haven't noticed, I'm the only one here. Which may be why I started talking to my machines in the first place. MCGEE: Well, Abs, I've got to tell him something. ABBY: Tell him you love him, McGee. It works for me. GIBBS: Not all the time. ABBY: Hi, Gibbs. Just in time. This is the mass-spec on the mystery compounds in Petty Officer Davidson's blood. It's organic and it's definitely what klled him. Meet neriin, oleandrin, and oleandroside. (SFX: BEEP TONES) GIBBS: Friends of yours, Elf Lord? ABBY: No, Gibbs, they're not characters from Lord of the Rings. They're compounds found in the oleander plant. ZIVA: What drug is made from that? ABBY: None. It's pure poison. MCGEE: Our Petty Officer didn't O.D. GIBBS: He was mrder. (MUSIC OUT) MUSIC IN: INT. BAR - NIGHT JEANNE: (INTO PHONE) What language do I have to say it in? You obviously don't understand English. I said no! TONY: Travis? TRAVIS: (V.O.) Yeah, Tony? TONY: Can I get two Belvedere martinis? Straight up. Very dry. Very cold. Twist of lemon. JEANNE: (INTO PHONE) You are becoming a stalker. No! What else do you want to call it? Over is over. Forever over. No ciao. No we'll meet again because we won't! (MUSIC OVER ACTION/JEANNE WALKS TO THE BAR) JEANNE: Hey. TONY: Hey. Cheers. JEANNE: Sorry. Santi. Yes, that was him. And no, I won't tell you his name. TONY: Did I ask? JEANNE: Your eyes did. TONY: What are they asking now? JEANNE: To skip dinner. TONY: You are amazing. I don't know how you do it. JEANNE: You always want to skip dinner, Tony. TONY: Oh. JEANNE: But not tonight. I'm famished. TONY: Me, too. JEANNE: Food first. TONY: All right. Our reservations aren't 'till eight. How about some oysters to tide us over? JEANNE: Oh, the last thing you need is an increased libido. TONY: You don't believe that old wives' tale, do you? JEANNE: It's true. Oysters are rich in rare amino acids that trigger increased levels of sex hormones. TONY: Two dozen malpeques, please. We'll be at that table. And more alcohol. TRAVIS: (V.O.) Yeah. Two more coming up. TONY: Mademoiselle. JEANNE: Merci. TONY: You look incredible. JEANNE: I'm glad you like it. It's my favorite. TONY: I wasn't talking about the dress. I meant you, Jeanne. JEANNE: Thank you. TONY: What's that? JEANNE: I'm working Wednesday. TONY: Wednesday? JEANNE: Valentine's Day. TONY: Oh, yeah! Yeah. It comes around fast every year, doesn't it? JEANNE: Mm-hmm. TONY: Yeah. Oh. Well, your gift is still at the store because I never bought it. Sorry. JEANNE: You know how wonderful it is to be with someone who doesn't even lie about the little things? (bat) Open it. TONY: Oh, it's not just the box? JEANNE: No! TONY: I was going to say it's the nicest box I've ever seen .... JEANNE: (LAUGHS LIGHTLY) ...... TONY: Oh, come on! JEANNE: It's more permanent than the last one I tagged you with. TONY: Uh-huh. This is... this is platinum. It's expensive, Jeanne. JEANNE: I'm a doctor. I can afford it. TONY: (READS) Mental ward? Are you trying to tell me something? JEANNE: It worked last time. TONY: Yes, it did. I've never had a gift this unique. Or a woman. Thank you. (SFX: CELL PHONE VIBRATES) TONY: He doesn't give up, does he? JEANNE: I'm going to change my number. TONY: Okay, don't be ridiculous. Let me talk to him. I can... JEANNE: No! No! TONY: (OVERLAP) I'll talk a little sense into him. JEANNE: I don't want you to get involved in my problem. I can handle it. TONY: If it doesn't go away? JEANNE: It will. I promise. TONY: Saved by the mollusk. (TO SERVER) Thanks. SERVER: Here you go.(SFX: CELL PHONE BEEP) JEANNE: I changed my mind. Let's skip dinner. TONY: Okay. CUT TO: INT. SQUAD ROOM - DAY ZIVA: Shakira. That's who this police sketch reminds me of. Shakira. Yes? You know, the singer? The one who dances like this. (MUSIC OVER ACTION/ZIVA DANCES) ZIVA: You're not even listening to me, are you? TONY: Uh-huh. ZIVA: Look at this police sketch. The Marines said this woman left the bar with Petty Officer Davidson. She could be the kller. (bat) Hey! (bat) Where are we going? TONY: We're not going anywhere. ZIVA: Who are you taking? McGee? MORRIS: (V.O.) Agent Gibbs around? (ON CAMERA) I brought him an early Valentine's Day present. CUT TO: INT. OBSERVATION ROOM CARSON: He's a junkie. Hangs out in the area where we found your dad sailor. Morris thinks he saw something. ZIVA: What do you think, Detective Carson? CARSON: It's um... it's John. Um... love the accent, by the way. It's Israeli, right? ZIVA: Not bad. Most people don't recognize it. CARSON: I took a vacation there a couple years ago. TONY: (OVERLAP) Back to the question. What makes you think he knows anything, John? CARSON: Well, um... mostly this, Tony. He had one of your Petty Officer's credit cards on him. CUT TO: INT. INTERROGATION ROOM (DOOR OPENS/ CLOSES) MORRIS: I've got somebody that I want you to meet, Frankie. This is Special Agent Gibbs. Wants to ask you a few questions. HOLTZ: Look, I didn't do nothing wrong. I mean, I didn't even use the card. GIBBS: No problem. I just want to know how you got it. HOLTZ: Oh, I found it, you know, in the street. GIBBS: Where do you keep your credit cards, Detective Morris? MORRIS: Oh, like ninety-nine percent of the people on this planet, a wallet. You? GIBBS: Yeah. Same. Same. You see, we've got a problem here, Frank, because Petty Officer Davidson's wallet was found lying next to his body. MORRIS: And his body wasn't out in the street. HOLTZ: Well, you ever stop to think uh... the guy could have dropped it? MORRIS: Man does raise a valid point. GIBBS: Mm. Yeah? Yeah, works for me. HOLTZ: So I can... I can go? GIBBS: Ah, no. I think we're going to charge you with mrder instead. HOLTZ: Wait, I didn't mrder nobody! Look, he was still breathing... CUT TO: INT. OBSERVATION ROOM TONY: It's almost unfair interrogating junkies. ZIVA: It's like shting fish in a pond. CARSON: (CHUCKLES) I um... I think you mean a barrel. ZIVA: Why would a fish be in a barrel? CARSON: Um... I um... it's a good point. I never really thought about it before. ZIVA: Mm-hmm. CUT TO: INT. INTERROGATION ROOM GIBBS: Frankie, Frankie, Frankie. HOLTZ: When I found your guy, he was pretty wasted. GIBBS: Where? HOLTZ: In an alley behind One Club. MORRIS: You saw him coming out of there? HOLTZ: No. No, he was lying over by some dumpsters. Right? So I decided... I decided to keep an eye on him. You know, make sure that... he don't hurt himself. GIBBS: I think you need to find a new line of work. MORRIS: He's dad, you retread. HOLTZ: Well, not when I saw him! I mean, all I did was help him into that restaurant and I just... I just waited for him to pass out. GIBBS: So you could rob him? HOLTZ: Well, yeah. But I didn't. I didn't kll him. GIBBS: No. But you just left him there to die. CUT TO: INT. ABBY'S LAB ABBY: (V.O.) This is really starting to vex me, McGee. (ON CAMERA) Normally I love lamination because it collects fingerprints like you collect royalty checks. But this is completely sterile. Are you sure it was in the Petty Officer's pocket? MCGEE: Yep. ABBY: Well then how did it get there? MCGEE: Either he put it in there, or someone else did. ABBY: Then there would be fingerprints. There would be oil from skin contacts, residue from the environment it's in. MCGEE: They wiped it down. ABBY: Why would they go to all that trouble? They could have just taken it! And believe me, they went to all that trouble. Maybe they wanted us to find it. MCGEE: Which is why ... ABBY: What's that look like to you? It's on the paper that's under the lamination. MCGEE: Ink? ABBY: Possibly. I'm thinking it's a message for us. CUT TO: INT. SQUAD ROOM - DAY CARSON: One Club's been on our radar for the last year. Drugs, illegal gambling, prostitution. ZIVA: Why haven't you breasted them? TONY: She means busted. ZIVA: Oh, yes. Yes, busted. Sorry. MORRIS: It's a private club. We can't get in to get enough evidence for a warrant. ZIVA: Why not raid it? If they're doing half of what you think they are, you'll find evidence. MORRIS: Not without a warrant. Last time I damn near lost my badge. CARSON: Club's lawyers ripped into the department big time. Owner's a smart guy. His name's Scott Pell. Knows how to protect his clients. If you're a member of One Club, you can get away with just about anything. It's not the kind of club you'd expect to find a sailor. You've got to be rich or famous to step through that door. GIBBS: Yeah, or have something they want. Are you two waiting for an engraved invite? MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY ABBY: On the surface it's a moderately priced Italian knockoff. But on the inside of the heel, a portable pharmacy. Twenty-four tablets of Ecstasy. MORRIS: Well, that could have gotten him through the door. GIBBS: That's a good job, Abby. ABBY: Oh, that was just the warm-up act, Gibbs. The real show is in here with McGee. CUT TO: INT. INNER LAB - DAY MCGEE: Boss, this card was definitely planted at the crime scene. ABBY: They wanted us to find it. MORRIS: Well, how do you figure that? ABBY: Well, the blood stain was intentionally put underneath the lamination. MCGEE: A human blood stain. MORRIS: Well, that doesn't prove that it was planted. MCGEE: They wanted us to take the card out of the plastic. MORRIS: And who's they? GIBBS: Stop interrupting and listen. MCGEE: They being the person or persons who klled Petty Officer Davidson. ABBY: Okay, here's where it gets weird. And when I say weird, I mean like the sick and creepy kind of weird. Not the good weird, because I'm a big fan of that. GIBBS: Abby. ABBY: Um... all right. You're going to need these. All right, McGee. ht the lights! We sprayed the card with luminal to look for more blood splatter. And instead, we found this. ZIVA: It's written in blood. TONY: I'd say that's creepy. GIBBS: Do you think, Dinozzo? (MUSIC UP AND OUT) FADE IN: INT. AUTOPSY ROOM - DAY DUCKY: Abby analyzed the contents of our Petty Officer's stomach. We now know how the poison was administered. The oleander plant leaves were first reduced to a fine powder, and then ingested. Judging by the absorption rate, it had to be in the form of a liquid. GIBBS: What's this stuff taste like, Ducky? DUCKY: Oh, extremely bitter. In order to disguise it, you'd have to use something equally strong, such as... GIBBS: Booze? DUCKY: Yeah. GIBBS: Someone spiked his drink? DUCKY: Well, considering his blood alcohol level, I'd say more than one. GIBBS: How many shts of this before you end up like he did? DUCKY: From that concentration? No more than three or four. Which brings me to the real reason for this visit. The note found on the body ... GIBBS: Expect more? DUCKY: Yeah. An average bottle contains twenty-five shts, enough to kll seven people. But an entire case? GIBBS: More than sixty. A few cases, you wipe out the entire night club. DUCKY: Well, bars and discotheques have been trror1st targets overseas. It's only a matter of time before they try it here. GIBBS: trrorists don't leave shiny pink clue cards for us, Duck. DUCKY: No, they don't. Nor do they leave thrat that can only be read in a forensic lab. I believe the kller is trying to show us how clever they are. GIBBS: Expect more. He's planning to do it again. DUCKY: Or she. Poison has been the wapon of choice for women for centuries. Except they tend to hide it in food, rather than drink. GIBBS: That would explain why my last ex-wife spent so much time in the kitchen. (SFX: DUCKY LAUGHS) (SFX: DOORS SLIDE OPEN/ CLOSED) (MUSIC OVER ACTION/LEE CLIMBS FROM UNDERNEATH THE GURNEY) (SFX: DOORS SLIDE OPEN/ CLOSED) (SFX: JIMMY CHUCKLES) CUT TO: INT. SQUAD ROOM - DAY TONY: (V.O.) If Petty Officer Davidson was drinking in this neighborhood Thursday night, it had to be here. MCGEE: It doesn't exactly look like a celebrity hangout. TONY: That's why celebrities like it, Probie. MORRIS: Ordinary people don't even know One Club exists. GIBBS: Dinozzo, find me that woman he was with and McGee, get a warrant. MCGEE: On it, Boss. MORRIS: On what grounds? GIBBS: dad sailor's good for me. MORRIS: Metro doesn't look like that. GIBBS: Then don't. MORRIS: Too late. We've involved. I need grounds, Agent Gibbs. GIBBS: Your witness places the victim at the club at the time of his mrder. MORRIS: Outside the club. And he wasn't exactly a witness, he let him die so he could rob him. MUSICAL BRIDGE TO: INT. SHEPARD'S OFFICE (SFX: TELEPHONE BEEP TONE) CYNTHIA: (V.O./FILTERED) Agents Gibbs and Lee to see you, Director. SHEPARD: Let them in, Cynthia. (DOOR OPENS/ CLOSES) SHEPARD: What's the problem? GIBBS: Jurisdiction issues with Metro Police. LEE: They're insisting on a warrant. GIBBS: And this... legal person won't get me one. LEE: I've tried, Director. We don't have probable cause. I can't get a judge to sign off on it. GIBBS: We have a dad sailor. We've got a kller leaving us messages in human blood. LEE: But we need to get a warrant, Sir. Not, Sir. Gibbs. Special... Special Agent Gibbs. GIBBS: Where did you find her? SHEPARD: Harvard Law School. LEE: We need a witness who saw the Petty Officer inside of the club. GIBBS: We've got one! SHEPARD: Is there a witness? GIBBS: Yes. LEE: Metro Detective Morris informs me that he's a drug addict that no judge would find reliable, Director. GIBBS: Who's running this agency? Metro Police? SHEPARD: You know damn well who. LEE: Find me a witness and I will get you that warrant, Sir - Special... Agent... Gibbs. (GIBBS WALKS O.S.) (DOOR OPENS/ CLOSES) SHEPARD: Don't take it personally, Michelle. LEE: He's right, Director. SHEPARD: He usually is. That's what makes him so damn irritating. MUSICAL BRIDGE TO: INT. NURSES' STATION - DAY JEANNE: Thanks. TONY: Excuse me, I need a prescription for this burning sensation in my loins. JEANNE: Are you trying to outspend me? A Bermuda weekend. What could be a more perfect Valentine? TONY: A weekend in the Bahamas? (bat) It's interesting, though. He and I must be a lot alike. (JEANNE TEARS THE TICKET INTO PIECES) JEANNE: You are... you are night and day. TONY: How does that work, exactly? Am I day and he's night, or you switch us out? JEANNE: That was totally uncalled for, Tony! CUT TO: INT. HALLWAY - DAY (DOOR OPENS) JEANNE: That was totally uncalled for. TONY: Was it, Jeanne? He still calls. Plans a Valentine's weekend in Bermuda with you. I'd say that's not a man who understands it's over. JEANNE: It's over ... for me. TONY: I'm not so sure. If you can't sell him, and you won't let me handle it....maybe it's not over for you. JEANNE: Don't do this, Tony. TONY: Okay, what if I had an ex-girlfriend who was always calling me and planning little romantic getaways for the two of us? How would you feel? JEANNE: I wouldn't like it. TONY: Well... JEANNE: But I would trust you to handle it. TONY: And if I didn't handle it? JEANNE: Then it would be your problem. Just as this is mine. TONY: Exactly. Wrong. This is our problem, Jeanne. (TONY WALKS O.S.) (DOOR OPENS) MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) MORRIS: We need to talk, Gibbs. (GIBBS AND MORRIS WALK INTO THE ELEVATOR) CARSON: Should we call the paramedics? ZIVA: No need. If they fight, it will be to the death. CUT TO: INT. ELEVATOR - DAY (SFX: ELEVATOR STOPS) GIBBS: Talk. MORRIS: I used to be like you, Gibbs. GIBBS: You were never like me. MORRIS: MORRIS: I got the dirtbags any way I could. Let the lawyers sweat the paperwork. About a year ago I went into a hole down on Eighth. The bastard in there was a bad-ass. (CONT.) rpist. Pedophile. Scum you gotta take off the street to get sleep at night. I didn't have a warrant or a probable cause. But I knew. Here. So I took him down. Hard. GIBBS: Is that it, or should I get a refill? MORRIS: His lawyer said it was a bad bust. No warrant. Judge agreed. Bad-ass walked. A month later... he rped and strangled a six year old girl. I'm never going to make that mistake again. GIBBS: Not getting a warrant, or not klling the bastard? CUT TO: INT. SQUAD ROOM - DAY TONY: Boss using the elevator as an office again? I had to take the stairs. All right, looky what I found. The Marines gave a pretty good description of Davidson's last date. Lisa Delgado. Age twenty-three. CARSON: Where'd you find her? TONY: There's only two parking lots within ... stumbling distance of the club. ZIVA: So you showed the police sketch to parking attendants? TONY: Yeah. And they I.D.'d her. She's a regular at the One Club. Arrives alone, and usually leaves with a Porsche, or a Ferrari, or a Mercedes SLR. CARSON: Good thinking, Dinozzo. GIBBS: Did you think to pick her up? TONY: Ah, I did. Roommate hasn't seen her since Thursday. Not unusual. She can be gone for days. She is, after all, in the escort business. MORRIS: The club owner, Pell, lets some of the escorts stay overnight. ZIVA: So she could be there now. GIBBS: If she is we'll be there when she comes out. MORRIS: And if she's not? GIBBS: We'll be there when she goes in. MUSICAL BRIDGE TO: INT. SURVEILLANCE VAN - DAY CARSON: That uh... that Feb's? TONY: Pro cheerleaders in the off season. CARSON: Yeah, buddy in vice told me one of them's a man. TONY: No. CARSON: Mm-hmm. TONY: Well, I probably shouldn't be looking at it anyway. I'm trying to wrap my head around the idea of a monogamous relationship. CARSON: That takes serious retraining. TONY: Tell me about it. CARSON: Ah....you're not in love, are you? TONY: Could be. CARSON: Could be, my friend, isn't love. TONY: Isn't love. I know. I know. It's complicated, John. CARSON: Aren't they all? TONY: No, usually they're pretty simple. Fall in love, three weeks later, fall out of love. CARSON: That's been my life! Except for once. I got engaged. TONY: What happened? CARSON: What do you think? I screwed it up. I um... slept with her best friend. TONY: Oh. (CHUCKLES) That's not nice, John. CARSON: Yeah, I know. She was the one, too. Smart, beautiful, funny. The whole marriage package. Oh, well. I'll always have April two thousand five to keep me company. TONY: Hooter Girls of D.C. CARSON: Yeah, collector's edition. TONY: Yeah. (bat) Baby steps. CUT TO: INT. ABBY'S LAB - DAY ABBY: (V.O.) This is really weird. ZIVA: I would agree. What exactly is this? ABBY: It's a chick-e-baby. My friend makes them. ZIVA: Why? ABBY: For Valentine's Day. ZIVA: I think I may be confusing this holiday with another. GIBBS: What do you got, Abs? ABBY: Oh, I'm not sure, yet. I got a partial match on the blood the kller used to write his calling card. GIBBS: Who is he? ABBY: He's a she. ZIVA: Our Petty Officer's mrder is a woman. ABBY: I don't think so. ZIVA: You don't think a woman can kll and leave a calling card? ABBY: Not this one. She was mrder two months ago. (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - DAY MORRIS: Sandra Thompson. Age twenty-four. Arrested seven times for prostitution. Found mrder in Canal Park. December twenty-fourth. ABBY: Ah, Christmas Eve. Sad. MORRIS: No day is a good day to be sab twenty-two times, Ms. Sciuto. ZIVA: At least she didn't feel anything. All the wounds were post-mortem. MCGEE: What klled her? MORRIS: She O.D.'d on something called neriin. ABBY: Neriin. An oleandroside. That's the same thing that klled the Petty Officer. GIBBS: That would have been nice to know two days ago, Detective. MORRIS: Hey, don't bite my ass. This isn't my case. GIBBS: Did you ask whoever's case it was if they found a pink card on the body? MORRIS: I did. They didn't. The only clue here is a bloody shoe print. GIBBS: Is there a photo in the file? MORRIS: It is the case file, Gibbs. GIBBS: McGee. MCGEE: Excuse me, Detective. (SFX: KEYBOARDING) GIBBS: All that blood, and just one print? MORRIS: It was his only mistake. GIBBS: McGee. (SFX: KEYBOARDING) GIBBS: It wasn't a mistake. CUT TO: INT. DOCTOR'S LOUNGE JEANNE: (INTO PHONE) You're right, Tony. Maybe it wasn't over for me.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) JEANNE: (V.O./FILTERED) If it was, I would have told him about you. TONY: (INTO PHONE) He doesn't know? (SCENE CUT) JEANNE: (INTO PHONE) He does now. (SCENE CUT) TONY: (INTO PHONE) Why didn't you tell him? JEANNE: (V.O./FILTERED) I didn't want to answer all these stupid questions that... (SCENE CUT) JEANNE: (INTO PHONE) ...men ask when it's over and they know there's another man in your life. (SCENE CUT) TONY: (INTO PHONE) Like uh... is he better looking than me? Or is he better in bed? JEANNE: (V.O./FILTERED) Exactly like that. TONY: (INTO PHONE) Is he? (SCENE CUT) TONY: (V.O./FILTERED) That was a joke. Sort of. JEANNE: (INTO PHONE) You're better in almost all categories... (SCENE CUT) JEANNE: (V.O./FILTERED) Tony. TONY: (INTO PHONE) Almost? JEANNE: (V.O./FILTERED) That was a joke. Sort of. (SCENE CUT) JEANNE: (INTO PHONE) I've got to go. I love you, Tony. (SCENE CUT) TONY: (INTO PHONE) I love you too, Jeanne. (END TELEPHONE INTERCUTS) CARSON: Well, I know that look. TONY: What look? CARSON: That cold feet look. You asked her to marry you, and now you wonder if your life is over. TONY: I didn't ask her to marry me. CARSON: Are you gonna? TONY: Well, I can't live a lie. CARSON: What the hell is that supposed to mean? TONY: (LAUGHS) I don't want to end up like you. CARSON: Oh, hell. That's easy. TONY: Don't sleep with her best friend? CARSON: Don't drink. (bat) You think I'd have blown the best thing that ever happened to me if I was sober? TONY: I'm sorry, John. CARSON: Oh, don't be. Because of her I quit drinking. (SFX: FAX MACHINE) CUT TO: INT. SQUAD ROOM - DAY (SFX: FAX MACHINE) GIBBS: Here. Look at the outside edges. Did you ever read MAD Magazine? ZIVA AND MORRIS: No. MCGEE: Until my mom found them and brned them in the yard. ABBY: Oh, my god! It's exactly like the back cover of MAD Magazine! MORRIS: (READS) dad whore? GIBBS: The shoe print's not a mistake, J.D. It's a message. ABBY: Like expect more written on the pink card. ZIVA: Which was also written in Sandra Thompson's blood. GIBBS: We're dealing with a serial kller. MORRIS: If it's a serial klling, shouldn't your dad sailor be a whore? CUT TO: EXT. ONE CLUB - NIGHT (SFX: CAR BRAKES TO A STOP) (MUSIC OVER ACTION) BARROWS: Have a good time. CUT TO: INT. SURVEILLANCE VAN - DAY TONY: Why couldn't you guys get a hot female cop inside? CARSON: Tried. Got stopped at the door every time. Not hot enough. TONY: Do you believe that? CARSON: No. Hate to say it, but I think someone in Metro tips the owner. And there he is at the door. CUT TO: EXT. ONE CLUB - PELL: Any problems, Matt? BARROWS: None so far, Mister Pell. PELL: Thought Metro might ht us with another warrant after what happened Thursday night. (INTO PHONE) Yeah? (SFX: CELL PHONE RINGS) CUT TO: INT. SURVEILLANCE VAN - NIGHT TONY: Hey Boss. What's up? GIBBS: We're going in. TONY: You got a warrant? GIBBS: No. No, we've got somebody rich and famous. CUT TO: EXT. ONE CLUB - NIGHT (MUSIC OVER ACTION/ZIVA/LEE AND MCGEE WALK FROM THE CAR TO THE CLUB) (SFX: PHOTOGRAPHERS B.G.) CUT TO: INT. SURVEILLANCE VAN - NIGHT TONY: McGeek? GIBBS: No. A very famous novelist. Thom E. Gemcity. CARSON: Who? TONY: Don't ask, John. I'd vomit explaining. GIBBS: (INTO RADIO) McGee, if Delgado's inside, you get her out quietly. CUT TO: EXT. CLUB - NIGHT MCGEE: How? CUT TO: INT. SURVEILLANCE VAN - NIGHT GIBBS: (INTO RADIO) Well, she's a hooker, Tim. Use your imagination. CUT TO: EXT. CLUB - NIGHT ZIVA: Lee, can you please pretend you want to be here with us? LEE: I'm trying. Please, I don't know where your Sig is, but I'm having trouble walking. ABBY: Snuggle up, Lee. It's fun. BARROWS: Names, please. MCGEE: Thom E. Gemcity. BARROWS: I thought I recognized you. Deep Six, right? MCGEE: That's the one. BARROWS: I'm a big fan. Go right in. MCGEE: Thank you. CUT TO: INT. SURVEILLANCE VAN - NIGHT TONY: I gotta write a book. GIBBS: You should read one first. CARSON: Hey, woman in the alley. Camera three. GIBBS: Tighter on her face.(SFX: COMPUTER BEEP TONES) TONY: It could be Delgado. Right size. CARSON: That's the best I can do. GIBBS: Check her out, Tony. MORRIS: John, you go with him. CARSON: All right. CUT TO: INT. ALLEY - NIGHT (DOOR OPENS/ CLOSES) PELL: I thought we agreed you weren't going to come around here for a few days. CUT TO: INT. SURVEILLANCE VAN - NIGHT MORRIS: That's Delgago. GIBBS: (INTO RADIO) Tony, that's Delgago in the alley. She's got company! Move! Now! Move! CUT TO: EXT. ALLEY - NIGHT DELGADO: The cops are after me. I've got to get out of town. PELL: I'm not stopping you. DELGADO: I need money. PELL: Why don't you use the thousand dollars that sailor gave you to leave the back door of my club open last Thursday night. DELGADO: I'll tell them what happened. PELL: Excuse me? DELGADO: You forced a spiked drink down his throat and klled him! PELL: Matt caught that guy trying to slip you a roofie. You should be grateful he saw it. DELGADO: It was no roofie. PELL: What was it? DELGADO: I dunno. Whatever it was, that freak was trying to kll me. PELL: I guess that means I saved your life. Come inside. We'll talk about it there. DELGADO: No! You just... just give me five grand and I'm gone. PELL: I'll give it to you inside. DELGADO: I'll never come out of there alive. PELL: Lisa, you're probably right. (MUSIC OVER ACTION/PELL attcks DELGADO) DELGADO: Forget about the money! I won't say a word! I swear! PELL: Yeah, you will. The next time a cop picks you over for tricking, Lisa, you'll deal. And I'll be the card. (F/X: PELL BREAKS DELGADO'S NECK) TONY: Freeze, Federal agents!! PELL: Damn cops. (MUSIC OVER ACTION/gn) (F/X: TONY MOVES TOWARD PELL) CARSON: Did we ht her? TONY: No, looks like he broke her neck. (SFX: CARSON FALLS TO THE GROUND) TONY: John? John! (SFX: CARSON GASPS) MORRIS: (INTO RADIO) Officer down! Six-six-one-eight Chillum Road Northwest. (V.O.) You're going to be okay, buddy. Try not to move.(SFX: CARSON GASPING B.G.) TONY: Hang on. Okay. All right. You're going to be fine.(SFX: CARSON COUGHS) CARSON: (COUGHING) Liar. MORRIS: (V.O.) Stay with us, Carson. You've got to stay with us, okay? (SFX: CARSON GASPS) (SFX: TONY AND MORRIS BREATHE HEAVILY) (SFX: SIRENS B.G.) CUT TO: INT. ABBY'S LAB - NIGHT ABBY: I should have caught this, guys. MCGEE: Metro had the bloody print for two months. They didn't catch him. ABBY: Yeah, but I had Petty Officer Davidson's boot the whole time. ZIVA: You thought the Petty Officer was the victim, not the kller, Abby. ABBY: There's no excuse. MCGEE: (SIGHS) It's ironic, isn't it? Serial kller forced to drink his own poison. That could make a good book. (SFX: ZIVA LAUGHS) MUSICAL BRIDGE TO: INT. BENOIT'S APARTMENT - NIGHT (MUSIC OVER ACTION/JEANNE READS EMAIL) EMAIL: I get it now, Jeanne. Won't bug you, again. Goodbye love. (ON SCREEN) Are you sure you want to delete the file permanently? (ENDING CREDITS UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x15 - Friends & Lovers"}	foreverdreaming
FADE IN: INT. SQUAD ROOM - DAY TONY: How much? ZIVA: Don't know. TONY: Come on! Take a guess. ZIVA: I don't know. TONY: Then we're just going to have to settle this with facts. I am Googling "men's jacket." What would you say it was made of? It felt like butter. ZIVA: Lambskin. TONY: Who's the designer? ZIVA: Why do you assume I know? TONY: Because.... ZIVA: Because? Because I'm a woman? Because I am Jewish? TONY: Because you're a great detective. ZIVA: True. McGee flashed the label when he showed us his lining. Armani. TONY: Anything else? ZIVA: Lizard-embossed trim, a two-way zipper, and a chest pocket. TONY: Found it! It's from the Armani Two Thousand Seven Resort Collection. You can purchase it for... ZIVA: Two thousand dollars. They say the clothes make the man. TONY: Hmm. He's not a man, he's a McGee. GIBBS: Either way, where is he? TONY: Um... over there. Overdressed. (SFX: SANDERS COUGHS) MCGEE: Are you okay? SANDERS: Yeah. I um... I just need to talk to Special Agent Gibbs. Hey, your jacket's really soft. MCGEE: Thanks. ZIVA: Who is McGee escorting? TONY: I don't know. Never seen him before. MCGEE: This is Special Agent Gibbs. SANDERS: Lieutenant Sanders, Sir. I need you to investigate a mrder. GIBBS: Whose? SANDERS: (bat) Mine. (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY "dad MAN WALKING" ZIVA: This is klling me. I feel like I know him. TONY: Mossad? ZIVA: Maybe. TONY: Internet dating? ZIVA: I will kll you eighteen different ways with this paper clip. TONY: Ducky figure out what's wrong with Lieutenant Sanders, Boss? GIBBS: No, he's still examining him. Thinks it could be radiation poisoning. ZIVA: Do we know how he was exposed? GIBBS: No. But he's got a high-risk job as an inspector for the IAEA. TONY: International Atomic Energy Agency.` ZIVA: Wonder if he's ever been to Israel? I feel like I know him from somewhere. GIBBS: Dinozzo, check his travel. TONY: Is this guy contagious, Boss? GIBBS: Well, McGee better hope not. CUT TO: INT. BALLISTICS LAB MCGEE: Underwear, too? ABBY: Yes, McGee. I need everything. MCGEE: Don't you think that's kind of overkill? ABBY: Get over it, McGee. I'm a scientist. Remember? You said he coughed on you. MCGEE: Yes. ABBY: So I need to check all of your clothing for radiation. If you were exposed... (DOOR OPENS) MCGEE: Yeah, I feel exposed. ABBY: Where's your jacket? MCGEE: Come on. You need to test that too? ABBY: You said he grabbed your arm. MCGEE: Do you promise not to stain it? ABBY: I promise not to stain it. CUT TO: INT. AUTOPSY ROOM - DAY SANDERS: The table's cold. DUCKY: None of my other patient's ever complain. SANDERS: Sorry. I thought it might have been nice for you to have someone to talk to for a change. DUCKY: Oh, I always talk to my guests. The difference here is that you talk back. SANDERS: Talk about what? DUCKY: Let's see, in your case, I'd talk about your runner's physique, your well-toned calves, your impressive thighs. (CHUCKLES) It doesn't sound quite so personal when you're dad. Mister Palmer? JIMMY: Yes, I will label these and get them over to radiobiology. DUCKY: When did the nausea start? SANDERS: Two days ago. Since I've been traveling, I blamed it on the local moqueca. (SFX: DOORS SLIDE OPEN/ CLOSED) DUCKY: Until your hair started falling out. Ah, Jethro! We have to wait for radiobiology to find out exactly with what we're dealing. GIBBS: Containment? DUCKY: Minimal. Abby's preliminary findings show that they're alpha emissions which, unlike gamma-rays and X-rays, can be blocked by a simple layer of dad cells on the skin. Just avoid contact and exchange of fluids. GIBBS: Is he fit to answer questions? SANDERS: I'm right here. I can hear you. DUCKY: I'm sorry. It's force of habit. GIBBS: You're around uranium in your job. What makes you think this was mrder and not accidental? DUCKY: A radiation badge. It's a thermoluminescent dosimeter. SANDERS: I wore it to inspect the power plant in Brazil where we discovered violations. When I returned four days ago, the film from my badge was processed. GIBBS: And the glow curve? SANDERS: Detected no exposure. Said everything was fine. GIBBS: Brazilians aware of your findings? SANDERS: From my line of questioning, I'd say they knew they were busted. Brazil has a history of covert attempts to secure nuclear wapon with Germany's aid. DUCKY: Yeah, it's an unsavory partnership. It goes back to the fall of the Third Reich. GIBBS: I'll need access to your offices and your inspection team. DUCKY: I told transport I want to move him to AFRRI. That's the Armed Forces... SANDERS: ... Forces Radiobiology Research Institute. Although in my line of work, we call in something else. DUCKY: What's that? SANDERS: The last exit. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY TONY: (V.O.) Okay, ready? Look away now. Look at me. Close your eyes. Now look back really fast! (ON CAMERA) Open them up! Anything? ZIVA: No, still nothing. TONY: Okay. Squat down. Squat down and close your eyes, and then jump up and look! (SFX: ZIVA PUNCHES TONY) TONY: Ow! GIBBS: Ziva, you find out how you know the Lieutenant? ZIVA: Not yet. He's been to Israel twice in the last decade. We've never been in the same city. TONY: He's also been to Iran, Bulgaria, Pakistan, Kuwait, Croatia, Korea and Slovenia. GIBBS: Guy gets around. TONY: I left out Canada. GIBBS: Ducky's transferring him to AFRRI in Bethesda. Ziva, go with him. ZIVA: Protection detail? GIBBS: Not sure yet. Dinozzo. TONY: On it. Tracing his phone calls, bank accounts, everyone he's ever met in his entire life. GIBBS: Leave that to McGee. You're with me. TONY: Uh, McGee's not here. GIBBS: Where the hell is McGee? MCGEE: Abby is testing my clothes for radiation and it's taking longer than we thought so... GIBBS: Pick up where Dinozzo left off. MCGEE: Got it, Boss. TONY: If clothes make the man, what does that make McGee? ZIVA: Male nurse? TONY: No, Aqua Smurf. MUSICAL BRIDGE TO: INT. GARAGE - DAY DUCKY: I've emailed your records to the doctors at AFRRI. They'll be running more tests. Try to conserve your energy. You'll need it later. I don't want to see you back on my cold table. SANDERS: I appreciate your help, Doc. DUCKY: Good luck. (SFX: VAN DOORS CLOSE) (SFX: VAN DOORS OPEN) SANDERS: Did you forget something, Doc? ZIVA: Special Agent Gibbs asked me to accompany you. I'm Officer David. SANDERS: I'd shake your hand, but... ZIVA: Um, actually, it would be best to avoid all bodily contact. SANDERS: You sound just like my prom date. ZIVA: Would you mind smiling for me? SANDERS: Do I have something in my teeth? ZIVA: No. You can stop smiling. (SFX: ENGINE ACCELERATES) (SFX: CAR TIRES SCREECH) (SFX: ZIVA GASPS) ZIVA: I'm sorry. SANDERS: Don't be. ZIVA: Do we know each other? SANDERS: Where did you go to college? ZIVA: Israel. SANDERS: Could we have met at a conference? ZIVA: Yes, except I've never been to one. SANDERS: Burning Man, two thousand two! Extreme Twister Camp. ZIVA: I don't even know what that means. MUSICAL BRIDGE TO: INT. FIELD OFFICE - DAY HOLLY: It took two hours, but I finally found three seats in a non-stop Lufthansa flight to Gdansk. Can you leave next Thursday? SADOWSKI: Holly, I don't know even if we'll be making this trip. I'll know more after I talk to NCIS. Special Agent Gibbs? HOLLY: Okay, well, the sooner the better because the cancellation fees... SADOWSKI: (OVERLAP) I understand. Just leave the itinerary. (TO GIBBS) I'm Mark Sadowski. We spoke on the phone. (TO DIANE) Diane, NCIS is here. TONY: Which one is Lieutenant Sanders' desk? SADOWSKI: It's clean. TONY: I can see that. GIBBS: He means they swept the office, Dinozzo. SADOWSKI: When Roy said he was throwing up, we checked the radiation levels. They're within normal limits. TONY: I'll gather his things. RUSSIO: Hi, I'm Diane Russio. How's Roy? GIBBS: Transferred to AFRRI. SADOWSKI: We were hoping it was just food poisoning. GIBBS: Radiation. RUSSIO: Do you know where he was exposed? GIBBS: No, not yet. SADOWSKI: Well it couldn't have been Brazil. We toured the facility together, and Diane and I aren't sick. RUSSIO: Could someone have done this on purpose? GIBBS: We'll need your radiation badges. SADOWSKI: Of course. GIBBS: After hours in Brazil, did all of you stick together? SADOWSKI: Uh, we stayed in the same hotel. Ate the same food. Roy would get up early and run. Oh, the night before we left, we ht the local bars for a cerveja and a cigar. Roy left early. GIBBS: Alone? RUSSIO: I was with him. We just went straight back to the hotel. SADOWSKI: I'm thirty years older than both of them, and they're the ones who are too tired to party. RUSSIO: I'll go get my badge. SADOWSKI: So can we visit Roy? GIBBS: Yeah, if he wants to see you. CUT TO: INT. ABBY'S LAB - DAY GIBBS: Answers, Abs. ABBY: I've got them, Gibbs. I took Lieutenant Sanders' dosimeter apart and I discovered that it is hinky. I might even call it hinky-dory. Oh, come on, Gibbs. That's a little cute. Okay. Um... if you follow this red beam, you can see there's no clear path between the photomultiplier tubes and the crystal lattice. This little piece of plastic is blocking the light emissions. GIBBS: Sabotage? ABBY: ABBY: Or faulty manufacturing. I mean, it's a state-of-the-art life saving device, but it's still made from injection-molded plastic. Just like a Happy Meal toy. (CONT.) And you know how sometimes you get one of those and there will be a little blob of plastic on the leg and you have to bend it back and forth and back and forth? GIBBS: Abby? ABBY: Somebody needs a Happy Meal. GIBBS: What about these? ABBY: Um... these are operational. No globs. Their reading was a true positive. My conclusion is that Sanders had a bad batch. There was no foul play. If he hadn't gotten sick, he wouldn't have even noticed. GIBBS: I need to talk to Ducky. (BEGIN MONITOR INTERCUTS) (SCENE CUT) GIBBS: (ON MONITOR) Hey Duck! (SCENE CUT) DUCKY: (ON MONITOR) Jethro, I was just about to call you. GIBBS: Lieutenant Sanders wasn't poisoned at the... (SCENE CUT) GIBBS: (ON MONITOR) ... power plant. DUCKY: I know. The radiobiology lab... (SCENE CUT) DUCKY: (ON MONITOR) ... identified the isotope in his blood. It was thallium. (SCENE CUT) ABBY: (ON MONITOR) Wow. That is... (SCENE CUT) ABBY: Nasty stuff! Isn't the non-- (SCENE CUT) ABBY: (ON MONITOR) ...radioactive form of that used for rat poison? (SCENE CUT) DUCKY: Oh, yes. It's lethal... (SCENE CUT) DUCKY: (ON MONITOR) ...and extremely effective. Colorless, odorless... (SCENE CUT) DUCKY: ... tasteless and soluble in water. (SCENE CUT) GIBBS: Are you thinking ingestion? DUCKY: (ON MONITOR) Oh, most likely. And no longer than seventy-two hours ago. ABBY: Okay, so now we know the when. We just have to figure out why, how, and who.(END MONITOR INTERCUTS) (MUSIC OUT) FADE IN: INT. AFFRI INTENSIVE CARE ROOM HASS: The pigment, Prussian Blue, has been applied by artists since the Seventeen Hundreds. Yeah, it was used by van Gogh, Monet, Picasso. SANDERS: Me. ZIVA: How long until it takes effect? HASS: About twenty-four hours. Prussian Blue works best when it's used or taken as a preventative measure before exposure, or right after. But in the meantime, let's see if you can replace the fluids you lost without an I.V. We prefer oral feeding to maintain the integrity of your gut. SANDERS: My gut has integrity. ZIVA: So does my spleen. HASS: Now, you can eat anything you want just so long as it's low microbial. But no drinking, and no smoking. ZIVA: Are we done? HASS: One more thing. We need to keep his stress levels down. ZIVA: We're in the middle of an investigation. SANDERS: (OVERLAP) We're in the middle of an investigation. ZIVA: I have to go. SANDERS: Any place I can get some fresh air? HASS: This facility has an open air garden. CUT TO: INT. MONITORING STATION - DAY GIBBS: They catch it in time? ZIVA: Uh, unclear. The next twenty-four hours are key. GIBBS: I'm more interested in the past. I want a list of every sip, every bite, every kiss, every time he's ht the head in the past seventy-two hours.(DOOR CLOSES) ZIVA: Do you think he's hiding something? GIBBS: Have you placed him yet? ZIVA: No. GIBBS: You place him first, Ziva. Trust later. CUT TO: INT. ABBY'S LAB ABBY: There are only trace amounts of radiation on your clothes. But I'm still glad we tested them, because it's better to be safe than glowing. MCGEE: Where's my jacket? ABBY: It's here. It's really soft. Rub that against a certain part of your body... MCGEE: You didn't! ABBY: I don't even have that part! MCGEE: Thank you for taking good care of my jacket. ABBY: You're welcome. MCGEE: Ah!! ABBY: What? I promised you I wouldn't stain it! Just put your hand over it like this. MCGEE: That looks very natural. Thank you. So did you find anything in the stuff Tony took from the Lieutenant's desk? ABBY: Nothing yet. I'm checking all the protein bars for needle puncture marks. MCGEE: You think the kller injected them with thallium? ABBY: That's what I'd do. It's pretty devious. Using something so healthy to make someone so sick. CUT TO: INT. AFFRI INTENSIVE CARE ROOM ZIVA: So the rest of the pizza is inside your refrigerator? SANDERS: Yeah. You can test it, but I, for one, trust Papa Don implicitly. ZIVA: Hm... then what? SANDERS: Brushed my teeth, and then I went to bed. I was pretty jetlagged, but I still got up to run the next morning. ZIVA: What time? SANDERS: Oh five thirty. ZIVA: I thought I was the only one who got up that early to exercise. SANDERS: Nope. I had water from the tap and an energy gel. Raspberry. ZIVA: Noted. SANDERS: Then I ran the two miles from my apartment to the Custis Trail which runs along the... ZIVA: The Potomac! SANDERS: Right. Then I headed over the... ZIVA: The Arlington Memorial Bridge, where you passed a woman wearing a yellow windbreaker. SANDERS: Is she part of the plot? ZIVA: No, she's me! You're the one who wears the fluorescent orange watch cap when you run, correct? SANDERS: Oh, yeah. So the cars will notice me. ZIVA: People, too. I pass you every morning. I'm going east, you're going west. Don't you recognize me? SANDERS: I'm sorry, no. ZIVA: How about now? I mean, you've got to picture me sweating and panting and, you know... SANDERS: Yeah, of course. I know you. You have a smooth stride, great carriage. I often turn after you pass to admire your technique. ZIVA: Are you serious? SANDERS: Yeah. Yeah. You have a very cute, tight technique. (SFX: ZIVA LAUGHS) ZIVA: Um, how far did you run that morning? SANDERS: Eight miles. Went home. Showered. Headed to the field office. Ate two protein bars at my desk. Then at twelve hundred, Mark and I headed to Oakwood shting Range. ZIVA: Where's that? SANDERS: Near Andrews. ZIVA: What do you sht? SANDERS: Glock. ZIVA: That's a good choice. SANDERS: And Mark and I ate lunch while we took target practice. I had a bacon cheeseburger with fries washed down with a large coffee. ZIVA: (WHISTLES) You run like a health nut and eat like a slob. SANDERS: I've always weighed the same. People told me at forty my body would change. I guess I might not have to worry about that. ZIVA: Have you made a will? I'm sorry. That was too blunt. I... SANDERS: No no no. I like blunt. ZIVA: I was thinking your beneficiary would have a potential motive. SANDERS: Well, the joke's on them because I ... I don't have a will. CUT TO: INT. GARAGE - DAY (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) TONY: Mark Sadowski, senior member of the team. He's about to retire. You know what that means. MCGEE: He gets a watch? TONY: No, somebody's going to bump him off. Stand procedure in seventies cop flicks. MCGEE: Did Sadowski and Sanders get along? TONY: Worked together nine years. Neither filed a complaint or request for transfer. MCGEE: What about the other inspector? TONY: Ah. Diane Russio. Something's up with her. She made Gibb's "Spidy-sense" tingle. MCGEE: Oh, hey! Oh, hey hey! Don't touch that! Sanders' car can be a hot zone! TONY: This car? I doubt it. (SFX: CLICKS) MCGEE: Rem is low. It's safe. TONY: After you, Probie. (DOOR OPENS) TONY: Oh... MCGEE: Reeks of cigar. TONY: It's a manly scent. Good for you. You know what this guy being poisoned reminds me of? MCGEE: A movie? TONY: Yeah, but what movie? MCGEE: A movie I've never seen. TONY: D.O.A. it's called. Nineteen fifty film noir. Classic. This accountant goes to San Francisco and parties all night. Wakes up, finds he's poisoned. He has twenty-four hours to find -- MCGEE: (INTERRUPTING)I found something. TONY: Is it dangerous? MCGEE: Do you want kids? (bat) Kidding. The rem counts not that high. We should take it to x-ray. TONY: Let's see what we've got in here. (SFX: TONY GAGS) MCGEE: Body parts? TONY: Gym clothes. GIBBS: Get them to Abby. Ziva called with a list of Lieutenant Sanders' movements - where he went, what he ate. MCGEE: We'll start at his apartment, collect these items, sweep for radiation. TONY: Ziva figure out how she knew him? GIBBS: Personal connection. TONY: Ziva has personal connections? CUT TO: EXT. GARDEN - DAY ZIVA: Lieutenant! (SFX: SANDERS GASPS) ZIVA: Did I startle you? SANDERS: A little. I'd say I was paranoid, but someone just poisoned me. ZIVA: Who? SANDERS: Well, I've racked my brain for enemies at work, but I uh... I can't think of anyone. ZIVA: What about your private life? Do you have a girlfriend? SANDERS: Are you asking me in a professional capacity? ZIVA: Yes! SANDERS: I don't have one. ZIVA: Why not? (bat) Professional follow-up. SANDERS: Well, I wouldn't date anyone I work with, and outside of work, I've never met a woman who could understand why I do what I do. ZIVA: The focus, the risks, the sacrifices. SANDERS: They always want me to go teach, or go to law school. But I love what I do. I truly believe there are good guys who need protection, and bad guys who need monitoring. ZIVA: It's a mission, not a job. SANDERS: "All that is necessary for evil to succeed is that good men do nothing." ZIVA: (bat) That's my favorite quote ever! (F/X: SANDERS STUMBLES) ZIVA: Oh! SANDERS: Sorry. I felt a little dizzy. ZIVA: I have to get you into bed. (bat) Oh! (SFX: ZIVA LAUGHS) SANDERS: I'm not saying anything. ZIVA: Sorry, it's the English. CUT TO: INT. HOSPITAL HALLWAY RUSSIO: How long do you think he's going to be in here? SADOWSKI: Hey! RUSSIO: Roy! Hi. ZIVA: I'm sorry! No contact! RUSSIO: I can't believe this happened. Are you going to be all right? SANDERS: Well, I hope so. CUT TO: EXT. HOSPITAL HALLWAY (MUSIC OVER ACTION/ ZIVA KICKS AND HITS THE VENDING MACHINE) MUSICAL BRIDGE TO: INT. AFFRI INTENSIVE CARE ROOM SADOWSKI: We'll probably just cancel next week's trip. SANDERS: Which one? RUSSIO: Pakistan, Uzbekistan and Russia. SADOWSKI: It's one of those "If this is Tuesday, it must be Tashkent" trips. SANDERS: Don't cancel. See if Howard's available. He's a good man. RUSSIO: Careful! SANDERS: Sorry. I'm a... I'm a bit wiped out. SADOWSKI: Well, we'll let you get some rest. See you tomorrow, okay? CUT TO: INT. MONITORING STATION ZIVA: I need to talk to you. It's about Lieutenant Sanders' personal life. Um... he says he doesn't have a girlfriend, that he doesn't date either. SADOWSKI: Hard to believe, but I think it's true. ZIVA: Mister Sadowski, would you mind giving us a moment alone? SADOWSKI: I'll be at the elevators. (SADOWSKI WALKS O.S.) ZIVA: You know something. Is it about Brazil? When you two went back to the hotel together? RUSSIO: Roy tell you about that? ZIVA: No, my boss did. What happened? RUSSIO: Nothing. ZIVA: Tell me. RUSSIO: Nothing! I got a little drunk. I knocked on his door. He wouldn't let me in. I was a complete idiot and he was a complete gentleman. ZIVA: Or maybe he's gay. RUSSIO: Oh, I don't think he's gay. ZIVA: How do you know? RUSSIO: I saw the way he looked at you. MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY ABBY: The higher levels of radiation are due to the concentration of Lieutenant Sanders' sweat. He made his clothes radioactive, not vice versa. (SFX: ABBY DRAGS ON THE DRINK) GIBBS: Abs, it's over! ABBY: Oh, I just hate to see the first one in the morning end. I did get one unexpected piece of information. Lieutenant Sanders had a computerized chip in his left sneaker to log his workouts. GIBBS: Is that one of those experimental D.O.D. things? ABBY: Uh, no. You can buy them at any running store. It transmits into this. I was able to access his exercise logs. These are the last two weeks of his workout. He's a machine. Eight miles everyday in under an hour. GIBBS: Lieutenant Sanders was poisoned... ABBY: Right around here. GIBBS: His last two workouts were only slightly off-pace. ABBY: Does that tell you something about the case? GIBBS: It tells me something about the man. ABBY: Like what? GIBBS: Like he would have made a damn good Marine. MUSICAL BRIDGE TO: INT. MONITORING ROOM - DAY HASS: He's sleeping again? ZIVA: We took a walk around the garden and it knocked him out. HASS: We got the second test results back. ZIVA: Was the Prussian Blue effective? HASS: No. Lieutenant Sanders' lymphocytes are continuing to decrease and his radiation levels are higher than when he was admitted. ZIVA: It doesn't make any sense. HASS: It does if he's still being poisoned. (MUSIC UP AND OUT) MUSIC IN: INT. MONITORING ROOM - DAY ZIVA: (INTO PHONE) There's no mistake, Gibbs. The doctor said Lieutenant Sanders' radiation levels are increasing.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) ZIVA: (V.O./FILTERED) He's still being poisoned. GIBBS: (INTO PHONE) Someone wanted to finish the job. (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) ZIVA: (V.O./FILTERED) Not a lot of people have access to him. Nurses, (SCENE CUT) ZIVA: (INTO PHONE) ...doctors. (SCENE CUT) GIBBS: (INTO PHONE) People preparing his food. Could be a lot. ZIVA: (V.O./FILTERED) Plus he had two visitors from work... (SCENE CUT) ZIVA: (INTO PHONE) ....yesterday. Diane Russio and Mark ... (SCENE CUT) ZIVA: (V.O./FILTERED) ... Sadowski. GIBBS: (INTO PHONE) Were they alone with him? (SCENE CUT) ZIVA: (INTO PHONE) Yes. At one point I went to the vending machine. (SCENE CUT) GIBBS: (INTO PHONE) One of them could have slipped it in his water. ZIVA: (V.O./FILTERED) What about Tony and... (SCENE CUT) ZIVA: (INTO PHONE) ... McGee? Have they followed up on the list of... (SCENE CUT) ZIVA: (V.O./FILTERED) ... locations? GIBBS: (INTO PHONE) Swept Sanders apartment, office, running paths yesterday. All clean. (SCENE CUT) GIBBS: (V.O./FILTERED) They'll ht the rest today. ZIVA: (INTO PHONE) This is starting to look very... (SCENE CUT) ZIVA: (V.O./FILTERED) ... targeted, Gibbs. Whoever did... (SCENE CUT) ZIVA: (INTO PHONE) ... this, is not just after any nuclear inspector. (SCENE CUT) GIBBS: (INTO PHONE) Sanders know he's still being poisoned? ZIVA: (V.O./FILTERED) Not yet. (SCENE CUT) ZIVA: (INTO PHONE) I'm worried it will increase his stress. GIBBS: (V.O./FILTERED) Your call. (SCENE CUT) GIBBS: (INTO PHONE) You stick with him, Ziva. (SCENE CUT) ZIVA: (INTO PHONE) Like tattoos on Abby.(END TELEPHONE INTERCUTS) (ZIVA WALKS INTO THE INTENSIVE CARE ROOM) ZIVA: I think this will make you feel better. They tested the pizza inside the refrigerator, and um... you were right about Papa Don. SANDERS: Yes! Exonerated! Did they... did they find any clues? Any answers? ZIVA: Not yet. But they're still looking. SANDERS: Well tell them to hurry up. I want to know who klled me before I die. Ziva? Can you do something else for me? ZIVA: Of course. SANDERS: Can you find me a lawyer? I think I need to write my will. MUSICAL BRIDGE TO: EXT. sh*ting RANGE - DAY (SFX: gn) CHESNEY: Mark and Roy came here a couple of times a week, usually at lunchtime. You check out Roy's two perfect targets hanging inside? TONY: Missed them. Which station did they use? CHESNEY: Oh, we don't keep track. At lunch time it's first available. But if you really need to know, I've got a security camera. Insurance made me put it in last year after I got sued. (SFX: CLICKS B.G.) TONY: Personal injury? CHESNEY: Sexual harassment. See, I like to come up behind a sht and correct his stance. Most appreciate it. One guy from Utah didn't. Bet I could correct your stance. TONY: I'm okay with my stance. CHESNEY: Sure would like to teach you how to position your shoulders over your hips. TONY: Hey, we should get the security footage and review it back at the office to see where they were. MCGEE: No need. I think we just found our hot zone.(SFX: RAPID CLICKS B.G.) CUT TO: INT. HOSPITAL HALLWAY (SFX: VENDING MACHINE COFFEE POURS INTO CUP) ZIVA: I've been working for thirty hours straight. MCGEE: This is only my fourth cup of the day. TONY: Mossad. Hot liquid. I'd let her have it, McGee. ZIVA: Thanks. TONY: So you spent the night in the Lieutenant's room, huh? ZIVA: Yes. We stayed up late talking. TONY: Yeah, I remember staying up late in college... talking. What's that look on your face? ZIVA: What look? TONY: Are you falling in love with a dying man? ZIVA: Of course, not! TONY: Hey! The look on your face says you are. ZIVA: When did you become an expert on love? Last time I checked, your idea of a long-term commitment was a three day weekend. What's that look on your face? TONY: Nothing. I was just going to say... ZIVA: (OVERLAP) Look, I know what you're going to say. Next time Lieutenant Sanders and I stay up late talking, we're going to use a lead condom. Thank you. TONY: (OVERLAP) No, Ziva. I was going to say I hope he pulls through, but you should know that I found a photo of an attractive woman, a kid, and a husky in his desk. GIBBS: How did he ingest the thallium? TONY: Well, they ate lunch at the shting range, and Abby's combing through the physical evidence, but we still haven't found the smoking gn. MCGEE: We swept the dumpsters at the shting range, but the levels were low. Same with the kitchen. TONY: There were two food preparers, two servers. They all scanned clean. So did Dee Dee -- she's the rather eccentric woman who runs the place. ZIVA: Then Roy - sorry - Lieutenant Sanders must have been contaminated at the point of consumption. MCGEE: Well, do you think someone spiked his hamburger or his coffee? GIBBS: Who got near his food? MCGEE: I watched the security footage and Mark Sadowski is with him the whole time. But you can't see the table or the food. The cameras are trained on the shting stalls. TONY: Oh, believe me. You don't want to know why that is. MCGEE: Someone could have come from the back... not been seen. ZIVA: Sadowski was at the range, and he was here, which places him at both contamination sites. GIBBS: Bring him in. TONY: On it, Boss. GIBBS: I thought I told you to stay with Lieutenant Sanders the whole time. ZIVA: Agent Lee's with him. He's making out his will. GIBBS: You can't die unless you see a lawyer. ZIVA: Hey. He may not die. He may pull through. MUSICAL BRIDGE TO: INT. AFFRI INTENSIVE CARE ROOM LEE: Officer David, I need you to witness the document. SANDERS: In case you're wondering, I left it all to my sister. I hope she appreciates it. We fight a lot. ZIVA: Someday I'll tell you about my family. SANDERS: Yeah, but don't wait too long. ZIVA: Does your sister have a Husky? SANDERS: How'd you know? ZIVA: That's a nice addition to any family. SANDERS: Do you have a dog? ZIVA: No. (SFX: SANDERS COUGHS) LEE: I'll file this with the court, but I hope we don't need to execute it for a very long, long time. SANDERS: Thank you, Agent Lee. LEE: You're welcome. (SFX: SANDERS GASPS) LEE: Ziva, Abby sent back some of his things. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM GIBBS: You know a lot about handling radioactive materials. SADOWSKI: Sure. For my job. GIBBS: You were at the shting range with Lieutenant Sanders a few days ago. SADOWSKI: We had lunch. GIBBS: Slipped him a little thallium? SADOWSKI: I've never touched thallium. Look, I had nothing to do with Roy getting poisoned. Nothing. GIBBS: Skip the denials. Tell me why? CUT TO: INT. OBSERVATION ROOM TONY: This is my favorite part. MCGEE: The part where Gibbs breaks him? TONY: No. The part right before Gibbs breaks him, when the guy still thinks he has a chance. CUT TO: INT. INTERROGATION ROOM GIBBS: Why? SADOWSKI: There is no why. GIBBS: Why? SADOWSKI: I didn't do it! I would never hurt Roy! GIBBS: Sit down! SADOWSKI: He's my friend. We traveled the world together. When I thought I had prostate cancer, he was the first person I called. So if you have any proof I did this, lay it out for me. Let me see it, because I know it doesn't exist. CUT TO: INT. OBSERVATION ROOM TONY: He'll break him. CUT TO: INT. ABBY'S LAB - DAY ABBY: I finished analyzing the debris that I vacuumed from the shting-range gravel.(BEGIN TELEPHONE INTERCUTS) DUCKY: (ON MONITOR) Was it our prime suspect? ABBY: You mean Frenchie? (SCENE CUT) ABBY: (ON MONITOR) Yeah. The fry registered scant radioactivity after it was dusted. None of the larger items... (SCENE CUT) ABBY: Are contaminated, but the micro debris was through the roof. DUCKY: (ON MONITOR) Were you able to break down its components? ABBY: Well, it took me a while, but I isolated human skin... (SCENE CUT) ABBY: (ON MONITOR) ... human hair, lint, tobacco ash - both large and small.... (SCENE CUT) ABBY: ... salt, pepper, dirt... (SCENE CUT) ABBY: (ON MONITOR) ... and pollen. Ducky? Ducky? (SCENE CUT) JIMMY: (ON MONITOR) He's gone. ABBY: Oh. (SCENE CUT) JIMMY: I've got to go, too. (MUSIC OVER ACTION/JIMMY AND LEE UNDRESS) (SCENE CUT) ABBY: I guess when you've got to go, you've got to go.(END TELEPHONE INTERCUTS) CUT TO: INT. HALLWAY - DAY (DOOR OPENS) GIBBS: Make it fast, Duck. DUCKY: We found the smoking gn, with the emphasis on smoking. Abby isolated large radioactive ash from the debris from the shting range. It wasn't ingestion. It was inhalation. MCGEE: Someone injected the thallium into the cigar. DUCKY: Yes, it's very efficient, too, because the lungs feed directly into the blood stream. TONY: Sadowski mentioned hitting the bars with Lieutenant Sanders in Brazil for cerveja and a cigar. So... MCGEE: Wait, Boss. I need to show you something. TONY: I really hope it's not that You-Tube clip I sent him this morning, because it's a little... CUT TO: INT. OBSERVATION ROOM MCGEE: MCGEE: Well, I downloaded the security camera feed from the shting range. Here's the isolated footage of Mark Sadowski and Lieutenant Sanders. (CONT.) If you had laced a cigar with thallium, would you stick around to breathe in the smoke? DUCKY: That's not likely. It's like pulling the pin on a grenade, handing it to someone, and then standing beside them. TONY: Sadowski didn't know they were contaminated with radiation. (SFX: SADOWSKI CHOKES B.G.) DUCKY: No! Stay here. (DOOR OPENS) TONY: That explains why you couldn't break him. He didn't do it. (MUSIC UP AND OUT) FADE IN: INT. AFFRI INTENSIVE CARE ROOM ZIVA: Where are they? SANDERS: What are you talking about? ZIVA: The cigars you smoke when you go outside to get some fresh air? SANDERS: Okay, I had a puff or two. I know the doctors said no-- ZIVA: (SHOUTS) No!! Where are they? SANDERS: I had no idea you were so anti-smoking. I mean, honestly, at this point I consider myself lucky to live long enough to die of cancer. ZIVA: Look, Roy, these cigars are laced with thallium. Were they a gift? SANDERS: I uh... I bought them myself. Duty-free, Sao Paulo Airport. ZIVA: Who else had access to these? SANDERS: They were in my desk until I stuck them in my bag. Oh, man.... (SFX: SANDERS BREATHES RAPIDLY) (SFX: RAPID BEEP TONES) ZIVA: Okay! Okay! You need to relax. You need to stay calm! HASS: It's all right, Roy. It's all right. Deep breaths, now. Take deep breaths. Keep breathing. MUSICAL BRIDGE TO: INT. HALLWAY - DAY MCGEE: Two out of three inspectors poisoned. Someone is targeting the agency. TONY: Make a lot of enemies wherever they've been, Boss. GIBBS: Or wherever they're going. You stick with Sadowski, Dinozzo. McGee, get Diane Russio in here. She's the only inspector who isn't sick. MCGEE: Yet. CUT TO: INT. CONFERENCE ROOM - DAY RUSSIO: We do a dozen inspections a year, Agent Gibbs, in a dozen different countries. People don't like us. But I can't believe any government would sanction this. Thank you. We all got tested after Roy. My results were negative. Am I still at risk? GIBBS: Low-level exposure. Lieutenant Sanders was the target. You have an inspection next week? RUSSIO: Roy insisted we still go. But now that Mark's sick... GIBBS: Where? RUSSIO: That's classified. We prefer it if they don't know we're coming. GIBBS: Need to know. RUSSIO: Russia, Pakistan, and Uzbekistan. (SFX: TELEPHONE BEEP TONES) MCGEE: Names of the facilities? OPERATOR: (V.O./FILTERED) Operator. GIBBS: (INTO PHONE) I need satellite time. Now! MUSICAL BRIDGE TO: INT. MTAC ROOM - DAY MCGEE: Last one, Boss. Tashkent, Uzbekistan. Image of the Taskent reactor sab. Before the fall of the Soviet Union, Uzbekistan was the top producer of wapon-grade materials. GIBBS: Yeah, and after? MCGEE: They dismantled the centrifuge. But if they wanted to put it back together... GIBBS: They'd bring the pieces in with heavy equipment trucks like these. A lot of activity. MCGEE: Looks like they're building something. GIBBS: Or pulling it down. I need a sht from earlier this week. MCGEE: Try the same location ninety-six hours ago. TECHNICIAN: (V.O.) Accessing now. MCGEE: Someone's expecting guests. GIBBS: Get that footage to D.O.D. and IAEA headquarters in Vienna. (SFX: TELEPHONE BEEP TONES) TONY: (V.O./FILTERED) Dinozzo. GIBBS: (INTO PHONE) Hey. Someone tipped off Uzbekistan. Ask Sadowski...(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (V.O./FILTERED) ... who knew. TONY: (INTO PHONE) Sadowski is out of it, Boss. (SCENE CUT) TONY: (V.O./FILTERED) The doctor sedated him. GIBBS: (INTO PHONE) Lieutenant Sanders, then. TONY: (V.O./FILTERED) Checking.(END TELEPHONE INTERCUTS) GIBBS: McGee, I want bank records for everyone working at the Agency. I want details for every inspection ever done on that facility. MUSICAL BRIDGE TO: INT. AFFRI INTENSIVE CARE ROOM SANDERS: I feel like I'm running a marathon. ZIVA: You are. SANDERS: I called my parents. My mom's taking it bad. The good news is Dad's going to fix it. They're on their way here. Dad - he's going to turn it all around. ZIVA: Call in some favors. SANDERS: Ask the right questions. ZIVA: Because every problem has a solution. SANDERS: Exactly! ZIVA: God, he sounds a lot like my father. SANDERS: He was tough on me, but I made him proud. ZIVA: Do they have far to travel? SANDERS: Too far. They'll need to be here anyway. Decisions to make. I'd like for you to meet them. Is that weird? ZIVA: No. I would like to meet them. TONY: How is he? ZIVA: He's fighting. TONY: Gibbs has a question for him. ZIVA: I think he just fell asleep. TONY: Lieutenant? Lieutenant Sanders? SANDERS: Ziva? ZIVA: I'm here. Agent DiNozzo needs to ask you a question. TONY: Who knew you were going to Uzbekistan next week? SANDERS: Classified. TONY: Who decided where you'd go? SANDERS: My decision. Short list. Kept everyone guessing. TONY: Who'd you tell? Roy? Lieutenant! Who did you tell, Roy? SANDERS: Mark. I told Mark. ZIVA: Are you done? TONY: Who else did you tell? Roy? Anyone else? SANDERS: Diane. Just... just Mark and Diane. TONY: Diane. Okay. Thank you.(SFX: TELEPHONE BEEP TONES) CUT TO: INT. MONITORING ROOM - DAY TONY: (INTO PHONE) Hey, Boss? The Lieutenant says only two others knew he was going to Uzbekistan...Mark Sadowski and Diane Russio.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) GIBBS: (INTO PHONE) How is he? TONY: (V.O./FILTERED) He's fading... (SCENE CUT) TONY: (INTO PHONE) ... fast.(END TELEPHONE INTERCUTS) CUT TO: INT. SQUAD ROOM - DAY MCGEE: Boss, inspectors have been back to Uzbekistan six times in the past four years. Next week's inspection would have been lucky number seven. Sanders has been at every one of them. GIBBS: That makes him an expert. MCGEE: If anything had changed, he's the guy that would have noticed. Explains why they targeted him. GIBBS: What makes you think it was them, McGee? DUCKY: (V.O./FILTERED) Doctor Mallard. GIBBS: (INTO PHONE) Hey Duck. I need you to check something. DUCKY: (V.O./FILTERED) Mm-hmm. MUSICAL BRIDGE TO: INT. HOSPITAL HALLWAY (SFX: TONY BANGS ON THE VENDING MACHINE) ZIVA: The other side. (SFX: TONY BANGS ON THE VENDING MACHINE) TONY: Well, you know you've been in the hospital too long when you've figured out the vending machine. ZIVA: You think I've been here too long? TONY: Do you want some of this? ZIVA: That's Roy's sister. The woman in the photo. The one with the kid and the dog. TONY: I had to ask him, Ziva. ZIVA: I know. TONY: Are you okay? ZIVA: Part of me just wants to run. And I can't believe this is happening to me. To me, of all people. TONY: Well, you shouldn't take it as a sign of weakness. ZIVA: Well, then how should I take it, Tony? Character-building? Life-affirming? Somehow I don't think Roy sees it that way. (bat) I'm sorry. Sorry. SANDERS: Ziva! I'm dying of boredom in there... ZIVA: It's okay. I've got you! SANDERS: Hey, what's a guy got to do to get a pretty girl to take a walk in the garden? HASS: Roy! You shouldn't be out of bed. You need to be back in bed. ZIVA: It's okay, Doctor. I can manage. HASS: (OVERLAP) No, no, no. He needs to be-- TONY: (OVERLAP) Doctor Hass, excuse me. Can I speak to you for a second? I think... I think I may have been exposed. I don't know how. And I don't mean to be an alarmist, but I've got that burning sensation, and the headaches and the vomiting, and the whole thing. HASS: (OVERLAP) Diarrhea? You've got the diarrhea? TONY: Yeah, like a tap. And it just ht me. And I... HASS: Okay, let's set you down. We're going to need to run some tests. CUT TO: INT. AUTOPSY ROOM - DAY (SFX: DOORS SLIDE OPEN) DUCKY: Ah, Jethro. As per your request, I've revealed the reviewed the results of the tests carried out on the agency staff after it was confirmed that the Lieutenant had been exposed. And I've found what you were looking for. Trace amounts of ferric forrocyanide. Prussian Blue. Someone was taking it prophylactically... as a preventative measure, Jethro. GIBBS: Who? DUCKY: Her. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY MCGEE: Got her, Boss. Fifty thousand in cash deposited over the past three months. Closed the account this morning. Shifted the funds offshore. Looks like she's about to do a runner. GIBBS: Where is she now? MCGEE: Just checked. Still in the office. CUT TO: INT. IAEA FIELD OFFICE RUSSIO: (INTO PHONE) No! I don't want to travel via London! I want a direct flight. Yes, I know it's last minute, but I'm - look, there must be other carriers. GIBBS: Ms. Russio! RUSSIO: Agent Gibbs! GIBBS: Your travel coordinator, Holly Stegman? RUSSIO: Okay, she just left me here with this mess! Flight plans... GIBBS: Which way? RUSSIO: I'm trying to-- GIBBS: (SHOUTS) Which way!? RUSSIO: Parking garage. MUSICAL BRIDGE TO: INT. CAR - PARKED HOLLY: Come on! (MUSIC OVER ACTION/CAR BACKS UP RAPIDLY) MCGEE: (V.O.) Stop!! Stop!! (MUSIC OVER ACTION/CAR RACES THROUGH THE PARKING STRUCTURE) (SFX: CAR TIRES SCREECH) (DOOR OPENS) HOLLY: No! No! Wait! Wait! MCGEE: Out of the car! HOLLY: No! I didn't mean to do it! I couldn't kll Roy anymore than I could run over you! I wanted to make him sick, so he couldn't travel! That's all! He would have known. He would have realized that it was either Mark or me! Just tell me!! Wait!! Tell me it didn't kll him. No! No! No! (CRYING) MCGEE: She could have klled you, Boss! MUSICAL BRIDGE TO: EXT. GARDEN - DAY SANDERS: What a perfect day for a run. ZIVA: Mmm. SANDERS: I'd even consider a double loop. ZIVA: I have something of yours. (b*at) I remember you now! SANDERS: All those mornings I ran right past you. ZIVA: You blasted past me. SANDERS: I uh... I used to put in a little extra kick to impress the ladies. ZIVA: (LAUGHS) Well, it worked. SANDERS: I'm sorry we never got to run together. ZIVA: Me, too. SANDERS: Do you think you'd notice... that I was no longer there? That I'd stopped running? ZIVA: Yes, I would have noticed. I would have missed seeing you. SANDERS: And eventually you would have forgotten me. ZIVA: Yes. I won't forget you now. (MUSIC OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x16 - d*ad Man Walking"}	foreverdreaming
FADE IN: EXT. CEMETERY - DAY MARINE: (V.O.) In pain we may find comfort, in sorrow hope, in death resurrection. HONOR GUARD: (V.O.) Guard ho! Ready, aim, fre! (SFX: gn) CUT TO: INT. MAUSOLEUM HONOR GUARD: (V.O.) Aim, fre! Aim, fre! Aim, fre!(SFX: gn B.G.) JACKSON: They're almost finished out there, Ken. DIXON: What do you want me to tell you, Jack? I can't get the damn thing open. (SFX: TAPS B.G.) JACKSON: Stripped? DIXON: No, it's catching. It's just stuck or something. When's the last time you reopened one of these things? JACKSON: This is the first tandem burial since I've been here. DIXON: That's like what? A decade? JACKSON: Yeah. Let me try. (SFX: JACKSON GRUNTING B.G.) JACKSON: Okay, it's moving. DIXON: What's that smell? (SFX: explsin) DIXON: Are you okay? (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/ SCENES/ CREDITS AND OUT) FADE IN: INT. SQUAD ROOM - DAY ABBY: Give me a dollar! "SKELETONS" MCGEE: Okay. What's wrong with that one? ABBY: The machine wouldn't take it, and I want a candy bar! MCGEE: What's wrong with that candy bar? ABBY: It has nougat in it! MCGEE: What? You hate nougat. ABBY: (SHOUTS) I know!! It was a mistake, McGee! Do you have a dollar!? MCGEE: All I have are big bills. ZIVA: What is nougat? TONY: It's whipped dolphin fat. MCGEE: No, that's the filling in Clownie Cake. ABBY: That is a myth! (SHOUTS) Would someone please give me a dollar?! TONY: (LONG bat) Sure, I've got one. ABBY: Thanks. God, it's like some kind of crime to not like nougat. ZIVA: I don't even know what nougat is. GIBBS: It's a cream made from sugar, honey and nuts. Grab your gear. We have an explsin at a Marine's funeral in J. Hoover National. MCGEE: Did anyone else see what just happened there with Abby? TONY: Yeah. She stole my dollar. MUSICAL BRIDGE TO: EXT. MAUSOLEUM ZIVA: Last ones to the party. TONY: It's not really a party until the bmb squad says it is. GIBBS: What'd you find? TRASK: We've got nothing. No ordnance. No residue. No electronics. No time device. No wiring. No remote. No evidence of a bmb. ZIVA: Except for the explsin. TRASK: You've got two employees injured. Both vets. They were taken to the V.A. with concussions and shrapnel wounds. TONY: You got names? TRASK: Former Lance Corporal Lloyd Jackson, thirty-six. And PFC Kenneth Dixon, twenty-five. GIBBS: The veterans keep getting younger. TRASK: Yeah, the kid they were burying is only twenty-two. It's a family crypt. GIBBS: Tandem. TRASK: His grandfather was in the back slot. Still there as far as we could tell. GIBBS: Are your men clear? TRASK: Bio readings are clean. Air's safe to breathe, not that I would recommend it. GIBBS: Anything else? TRASK: Might want to cover your shoes, though. MUSICAL BRIDGE TO: INT. MAUSOLEUM - DAY TONY: That is truly appalling. MCGEE: Chief Warrant Officer Mitchell Waller. (V.O.) Died nineteen seventy-eight. He should be the one in the back of the crypt. ZIVA: He appears to be undisturbed. TONY: He would be the only one. This is really the most disgusting thing I've ever seen. And believe me, that says a lot. MCGEE: (V.O.) It like porridge. DUCKY: The word is effluvium. The results of decomposing human organs and tissue. TONY: This is people? DUCKY: Yes, two, I'd say, judging by the volume. JIMMY: And the two skulls, of course. DUCKY: Mister Palmer, we have to recover all of this. JIMMY: One Wet-Vac for the soylent green coming right up. DUCKY: Somewhat claustrophobic and for all eternity. TONY: Our friends here might agree with you. They obviously needed to get out. GIBBS: They didn't belong there in the first place. DUCKY: Vents are definitely clogged. ZIVA: Be careful, Doctor. We still haven't found traces of what caused the explsin. DUCKY: Yes, if my suspicions are correct, Officer David, the bmb is all around us. It's a phenomenon in the death industry informally referred to as exploding casket syndrome. GIBBS: Well, the floor is all yours, Duck. DUCKY: Thank you, Jethro. All bodies contain enzymes and bacteria. Immediately upon death they start to break down tissue. Yes, a body can liquefy within a week, especially if it hasn't been embalmed. It's possible that these remains were human in appearance as recently as two weeks ago. TONY: And someone dumped them in here. DUCKY: Yes, in such a confined space, as the gases were given off the bodies, with not any proper ventilation, the crypt itself could become a pressure cooker. GIBBS: The bodies were the bmb. MUSICAL BRIDGE TO: INT. AUTOPSY LAB - DAY JIMMY: Not our first meat puzzle, Doctor. DUCKY: Yes, and it certainly won't be the last. Never forget, Mister Palmer, experience is the ultimate teacher. JIMMY: Corner pieces are not as reliable as the singular components. DUCKY: Yes. As experience has taught us. JIMMY: Skulls and torsos. And judging by these pelvic structures, we have a man and a woman. DUCKY: DUCKY: Yes, well let's put Adam on the left and Eve on the right. You know, this reminds me of a summer when I assisted at an archeological dig in North Africa. (CONT.) Our team unearthed two fossilized Neanderthals from a primitive burial mound. One man, one woman. JIMMY: This rib structure is fractured, Doctor. Possibly from the force of the explsin. DUCKY: Oh, no, no, no. It's a clean serrated edge. Very unlikely. Did you know that the Zulus burn all the possessions of the dear departed to ward off evil? Some tribes even throw spears and sht arrows into the air to kll hovering spirits. JIMMY: Right ulna. DUCKY: That evolved into the modern military tradition of fring a volley into the air. (SFX: DUCKY MIMICS fring gn) JIMMY: Uh... right hand. DUCKY: Yes, after the death of an African king... ah, right hand... some of his subjects used to cut off fingers and toes. It was considered a mark of respect. Humorus. JIMMY: I suppose it depends on what you find funny. (bat) Oh. Right. (CHUCKLES) I see. Humorus. (CHUCKLES) DUCKY: Right hand. JIMMY: Didn't this happen the last time? DUCKY: We're going to need another table. JIMMY: (IN UNISON) We're going to need another table. CUT TO: INT. SQUAD ROOM - DAY TONY: The mausoleum doesn't get many visitors, which makes it a creative place to get rid of a few bodies. But... ZIVA: Whoever deposited them, would first have to know the portion of Chief Waller's crypt was vacant. TONY: That would suggest an inside job. ZIVA: With the knowledge to access a sealed tomb. TONY: Which would point to Jackson or Dixon. ZIVA: If they hadn't practically blown themselves up. TONY: What do you think, McGee? MCGEE: She definitely seemed un-Abby. ZIVA: Who? MCGEE: Abby. ZIVA: Abby's unhappy? TONY: No, Abby's un-Abby. I need you to focus here, okay? Pitch in. I'll talk to her when I can. MCGEE: Why you? TONY: Because dealing with an angry woman requires a great deal of sensitivity, clearly not an area of expertise for you. MCGEE: Well, I don't doubt that you have more experience with angry women. TONY: You see, now that wasn't very sensitive, was it? ZIVA: The man has one serious relationship, and all of a sudden he is an expert. TONY: All right, there is one clear cut undeniable reason why I should be the one to talk to Abby. She owes me a dollar. Now, uh... we ran down IDs on the remains - got a ht on the woman. ZIVA: Hm. Classic Dinozzo. MCGEE: One intact fingerprint off her left hand matches a driver's license. TONY: Marilyn Torrance, age fifty-eight, of Tyson's Corner. There's no case file, because her nephew and his wife never reported her missing. MCGEE: They're on their way in. GIBBS: Is that it? (PHONE RINGS) MCGEE: (INTO PHONE) McGee. DUCKY: (V.O./FILTERED) I need Jethro down here. MCGEE: (INTO PHONE) Be right there, Ducky. (HANGS UP PHONE) TONY: Saved by the bell. DUCKY: (V.O.) They were dismembered. CUT TO: INT. AUTOPSY LAB - DAY DUCKY: Likely by severing tendons, muscles from ligaments at every joint. JIMMY: Neck, shoulder, elbow, wrist, hip, knee, ankle... et cetera. DUCKY: There's very little damage to the bones themselves, except the rib cages. They were cut, probably using a bone saw. ZIVA: Were they mrder? DUCKY: One of them at least was. Blunt force trauma to the female skull. A blow to the back of the head that was certainly enough to kll a woman of her age. JIMMY: Fourth rib phase analysis suggests that she was in her seventies. ZIVA: According to the DMV, Marilyn Torrance was fifty-age. TONY: Women lie about their age. JIMMY: But this is her hand. GIBBS: Not her head. MCGEE: Well, maybe that's her head. JIMMY: No, that's a man's skull. MCGEE: Well, maybe you reassembled the pieces incorrectly. JIMMY: The problem is we can't reassemble the pieces. We don't have two full sets of remains. GIBBS: We're missing pieces. DUCKY: Yes, of these unrelated pieces - well, they belong to at least three different people. ZIVA: Three more bodies? MCGEE: We're missing a lot of pieces. TONY: This is more than someone just dumping two bodies. DUCKY: I think you're looking for a mass mrder. (MUSIC UP AND OUT) FADE: CLOSE ON MONITOR: (SFX: KEYBOARDING B.G.) ON SCREEN: Can't we talk about this? ON SCREEN: There's no point... CUT TO: INT. ABBY'S LAB - DAY GIBBS: What do you got, Abs? ABBY: Decaying flesh, organs and human tissue. The DNA confirms... TONY: Five different people. ABBY: Well, if you already talked to Ducky, there's not much I can tell you. You didn't give me much to work with, Gibbs. There's barely any blood. The bodies were probably drained. TONY: So what do you think? We're looking for a vampire? ABBY: There were traces of cellulose, fiber, common paper, and string. GIBBS: (V.O.) The parts were wrapped. ABBY: Yeah, but they're too degraded to get any fingerprints. There was one thing. The screws from the marble furnace piece - they've been collecting rust since the internment in nineteen seventy-eight. But look at the heads. They're scratched. TONY: (V.O.) That's from the screwdriver - dislodged the rust. ABBY: But look at the other crypts. See the screws? GIBBS: Yeah, they're all rusted. ABBY: Except for these two crypts. GIBBS: Ensign Gage, USMC, Colonel Raymond Dalton, US Army. ABBY: It might be vandalism, but it might be something. GIBBS: Dinozzo. TONY: Contact next of kin, and get permission to open those two crypts. On it, Boss! TONY: Nice catch, Abby. ABBY: Yeah. TONY: I couldn't help but notice how quiet it is in here. Where's the music? ABBY: I just wasn't in the mood. TONY: Anything... do you want to talk about? ABBY: Why would there be? TONY: Yeah, I don't know. It's just that McGee said that you weren't really acting like yourself. And so I thought... ABBY: Oh, so you guys have been talking about me? TONY: Yeah. No. We were wondering if there was anything bothering you. ABBY: You want to know what bothers me? It bothers me when people gossip about other people behind their backs. Do you really think that that is okay? TONY: Yeah? 'Cause, I mean, it's the only way to gossip. Because if we talked about you in front of your face, then that would just be talking about you. (SFX: BEEP TONES) TONY: You know what? We're just not going to ... we're not going to do that anymore. Sorry. CUT TO: INT. INTERVIEW ROOM - DAY MCGEE: Your aunt live with you? JACOB: When she was in town, yes. Are you sure she was mrder? MCGEE: Preliminary findings have been inconclusive, Mister Torrance. But it's probable. ZIVA: When was the last time you saw her? JACOB: It's been almost three months now. ZIVA: And you never filed a missing person's report? MADELEINE: Well, she does this. She would meet a new man with a yacht, or jet, and disappear for a while. JACOB: We always expected she would resurface eventually. MADELEINE: Just never like this.(SFX: MADELEINE CRIES B.G.) ZIVA: Um. Here. I know how difficult it is to lose a person you care about. MADELEINE: Thank you. MCGEE: We'll also need a list of anyone who has access to your homes - contractors, workmen, employees. ZIVA: And also the names of any of her travel companions or associates. JACOB: Of course. CUT TO: INT. SQUAD ROOM - DAY MCGEE: Thank you for coming in so quickly. JACOB: If you learn anything... MADELEINE: Please call. ZIVA: As soon as we know more. (MADELEINE AND JACOB WALK TO THE ELEVATOR) MCGEE: They were really cut up. Sorry. It's a poor choice of words. ZIVA: How many more of these are we going to do? MCGEE: Ah, at least five. So pace yourself. ZIVA: What do you mean by that, McGee? MCGEE: Nothing. Just, you know, it got a little emotional in there.(ELEVATOR DINGS/ DOORS OPEN/ CLOSE) TONY: I will meet you upstairs, Ms. Dalton, okay? DALTON: Okay. MCGEE: Next of kin? TONY: Abby thinks there might be more body parts hidden in her grandfather's crypt. MCGEE: You talked to Abby? TONY: Yeah, McGee. MCGEE: I was right, wasn't I? There's something wrong. TONY: Let it go, Probie. MCGEE: Why? TONY: Because I'm pretty sure it's something you did. MCGEE: But what did I do? TONY: Well, think about it, Probie. I'm sure you'll come up with something. CUT TO: INT. CONFERENCE ROOM - DAY DALTON: I don't understand what I'm supposed to be looking at. TONY: These photos are of your grandfather's tomb. DALTON: I get that. TONY: I assure you, this has nothing to do with your grandfather. DALTON: How could it? He's been dad thirteen years, and I was at the funeral. TONY: Right. It's been tampered with, okay? And we believe that there is evidence hidden inside relating to an ongoing mrder investigation. DALTON: What kind of evidence? I run my own business, Agent DiNozzo. That means I am losing money every minute that I have to spend here. So why don't you just tell me what it is that you want from me? TONY: We need you to give us permission to open it. So if you could just sign these authorization forms. DALTON: My dad put me to work right after my grandpa died. You know the first lesson that I learned? TONY: What's that? DALTON: Don't sign any papers without having a lawyer look at them. TONY: That's a good lesson. But if it's necessary, we'll get a Federal warrant. DALTON: Oh, that would be much easier for me. You should just do that. TONY: Okay. DALTON: Anything else you need? TONY: Just the Federal warrant. DALTON: Great. MUSICAL BRIDGE TO: EXT. MAUSOLEUM - DAY (SFX: CAR BRAKES TO A STOP) TONY: Company, Boss! MANN: Special Agent Gibbs. GIBBS: Colonel Mann. MANN: I got a call your case might be venturing into CID territory. GIBBS: That call was premature. MANN: Really? Here I thought it was four weeks overdue. I understand you were denied permission by the family to access Colonel Dalton's crypt. GIBBS: Got a warrant. MANN: And that got my attention. Why don't you fill me in? Wouldn't want to make a bad situation worse, would you? Don't look so nervous, Jethro. GIBBS: Do I look nervous? MANN: No. You actually look... you look pretty good. GIBBS: David, Dinozzo, perimeter. TONY: Sure you don't want us to help you in there, Boss? Of course, not. Because if you did, you would have said, "David, Dinozzo, follow me." Probie! Stop it! We're not going anywhere. MCGEE: Why? What'd I miss? MUSICAL BRIDGE TO: INT. MAUSOLEUM - DAY MANN: It's not like you to leave something unfinished. The crime scene. Ever worry you're slipping? GIBBS: Nope. MANN: Any suspects yet? GIBBS: Nothing concrete. MANN: What does your gut say? GIBBS: Theory is it's an inside job. MANN: But you don't like that. So how else would he know which crypts are vacant? Ah, read the faceplates. So the warrant didn't exactly specify what we're looking for here. GIBBS: No. It's best to not have expectations. MANN: It staves off disappointment. What are we hoping for? GIBBS: You throw that "we" word around pretty casually. The last time someone tried to remove one of these, it blew up in his face. MANN: Oh. GIBBS: You might want to step back a little bit. MANN: Thank you for your concern. (SFX: CRYPT DOOR SLIDES OPEN) MANN: I see what you mean. Expectations. CUT TO: EXT. MAUSOLEUM - DAY TONY: Gibbs did not look happy to see her. ZIVA: Ha! His body language suggested he was not comfortable at all. MCGEE: Nothing makes Gibbs uncomfortable. TONY: Nothing job related. MCGEE: Do you think he ended it with her? Assuming that he started something. TONY: I don't buy it. MCGEE: Why not? TONY: For one, she's not a redhead. ZIVA: People do change, Tony. MCGEE: It's true. Even you have a girlfriend. TONY: I haven't changed. ZIVA: Really? What about the pretty girl in the office? TONY: Natalie Dalton? ZIVA: Oh, you noticed she was pretty, but you didn't flirt with her. TONY: That would have been unprofessional. MCGEE: I don't know. You might have gotten her to sign the authorization. ZIVA: Then we would not have needed the warrant. MCGEE: Then Colonel Mann wouldn't have been here. ZIVA: And we would be inside doing our job like professionals. MCGEE: All because you don't flirt anymore. Why is that? TONY: Enough gossip, McGee. MCGEE: Tony, you like to talk about everyone's private lives. TONY: Talk. Yes. I don't write entire books about them, do I? ZIVA: Ah! It does create a bit of a trust issue, McGee. GRADY: (V.O.) Excuse me. Hi. (ON CAMERA) Am I able to go inside today? ZIVA: The mausoleum is closed, Sir. CUT TO: INT. MAUSOLEUM - DAY MANN: Here it is. GIBBS: Are you going to let me in? MANN: I think we should be clear on the implications first. GIBBS: You're interfering with my investigation. MANN: Is that what I'm doing? GIBBS: Honestly, I'm not sure. MANN: If there's evidence in here, I'm going to be obligated to see this through to the end. GIBBS: And if there's not? MANN: Then I don't see why my involvement shouldn't end right here. GIBBS: If you wanted to see me, you didn't have to manufacture a reason. MANN: I follow the orders of the United States Army, even when they don't exactly make sense. GIBBS: You could have called. MANN: So could you. I distinctly remember the last thing you said as you were slinking out of-- GIBBS: I don't slink! MANN: ... was "I'll call you." GIBBS: For the record, I didn't think the last time we saw each other was going to be the last time we saw each other. MANN: Neither did I. GIBBS: Well, here we are. MANN: Lucky for us. GIBBS: Call it fate. MANN: Are you just going to let fate decide whether we go our separate ways? GIBBS: Five bodies in total. We've only recovered portions. MANN: You're hoping the rest are in here. GIBBS: Aren't you? MANN: Honestly, I'm not really sure. (SFX: CRYPT DOOR SLIDES OPEN) GIBBS: Is that the answer you were looking for? (MUSIC UP AND OUT) FADE IN: INT. ELEVATOR - DAY DUCKY: If the bodies recovered from the mausoleum were, in fact, the result of mass mrder... CUT TO: INT. AUTOPSY LAB - DAY (SFX: DOORS SLIDE OPEN) DUCKY: ... one might expect a certain modicum of consistency in the manner of death. GIBBS: One might. DUCKY: Yes, and one would be wrong. sht, sab, strangled, bludgeoned, and poor Miss Undetermined Torrance. Three women, two men. Ages ranging from nineteen to seventy. Three are Caucasian, one Asian, and one Black. GIBBS: No common traits. DUCKY: Not in life. But the blood, however, settled on different surfaces on each of the bodies. JIMMY: Her left thigh, and back. His chest and buttocks. Meaning... MANN: The bodies were moved repeatedly. DUCKY: Precisely. They were klled and then moved for some sort of preparation. JIMMY: See the indentations in the ankles here and here... here. MANN: Chain link. DUCKY: Yes, I believe the bodies were suspended and drained, prior to being, well... there's only one word for it. GIBBS: Butchered. JIMMY: We sent the tissue samples to Abby. Hopefully she can... (SFX: PHONE RINGS) JIMMY: Speak of the devil. DUCKY: What we have here is paradoxical behavior. On one side we have a-- MANN: An emotional unrestrained mrder, using whatever means at hand. DUCKY: Yes, and on the other, someone tidy, meticulous, and almost flawless in the way he dissected these bodies. JIMMY: That wasn't Abby. That was the Director. She wants to see you. Both of you. TONY: (V.O.) As far as we can tell... CUT TO: INT. SQUAD ROOM - DAY TONY: ... the only thing that brought these people together is how they were taken apart. In addition to Marilyn Torrance, we have a nineteen-year-old runaway from Florida. He was sht. Thirty year old prosttute. She was strangled. ZIVA: No next of kin on either of them. Wade Carlin, twenty-six year old Georgetown graduate from Michigan. MCGEE: He broke off contact with his parents after his girlfriend dumped him six months ago. They thought he was Jack Kerouac-ing around the country. TONY: When in fact he was sab to death a few weeks after the breakup. MCGEE: All missing persons cases. All have led to nowhere. TONY: Until now. Gloria Grady. Age seventy-two. Ducky says she was the first victim. Blunt trauma. Only one relative, her son, Len Grady. ZIVA: He was at James River. TONY: With a bouquet of flowers. ZIVA: Lilies. For who? MCGEE: No record of any Grady at James River. Could be under a different name. TONY: Could be a friend. ZIVA: But lilies. They're feminine. The kind you give to a woman. MCGEE: Like your mother. (bat) Grady's mother. I don't know your mother. TONY: Could be visiting his trophies. ZIVA: Fits the classic profile. Thirties. Single. White. MCGEE: We should tell Gibbs. TONY: Yeah? Why don't we wait 'till he gets out, unless you want to be the one to interrupt his meeting? Campfire's over. MUSICAL BRIDGE TO: INT. SHEPARD'S OFFICE SHEPARD: (INTO PHONE) Okay. Well, thank you, Colonel. I will get her back to you as soon as possible. (TO MANN) Your superiors have agreed to loan us your services for the interim. I trust that there is not a problem with that. MANN: No. Of course not, Director. As long as Special Agent Gibbs continues to be forthcoming with pertinent information. SHEPARD: Agent Gibbs? GIBBS: As long as she follows my lead, I can't foresee a problem. SHEPARD: You two have worked cases together successfully in the past. Nothing's changed to interfere with that professional relationship, has there? (bat) What do we have so far? GIBBS: Four confirmed homicides. Likely five. SHEPARD: That's all you know? GIBBS: I know we're wasting time debating jurisdictional protocol, or discussing who is entitled to what. SHEPARD: Well, then why don't you get back to it? GIBBS: Yeah, thank you. SHEPARD: Um... not you, Colonel Mann. I'd like to have a private word with you.(DOOR OPENS/ CLOSES) CUT TO: INT. ABBY'S LAB - DAY (SFX: ABBY SLAMS HER SHOE ON THE COUNTER) ZIVA: Uh... breaking in a new pair? ABBY: No. I always wear these. Why do I always wear these? Let me see your shoes. ZIVA: Okay. ABBY: Flat, sensible, functional. Not very sexy, but... ZIVA: But they do the trick. ABBY: Why do I wear three inch platforms? When I'm already five ten! I love these shoes, just all wrong. ZIVA: Wrong for who? ABBY: The tissue samples. ZIVA: I don't follow. ABBY: No, you don't want to hear about shoes. You want to hear about tissue samples. ZIVA: Sure. ABBY: I ran the Torrance tissues through the mass spec. And I found abnormal levels of chlorine. ZIVA: Chlorine? ABBY: Yeah. Like in a swimming pool. TONY: (V.O.) Len Grady's website. CUT TO: INT. SQUAD ROOM - DAY TONY: He's a jack-of-all-trades. Basically a guy with a big van. MCGEE: And a little initiative. Something of an amateur entrepreneur. TONY: That's not easy to say. Carpenter, plumber, gardener, electrician, TV installation, snow shoveling. ZIVA: But most importantly pool cleaning. GIBBS: Is that supposed to mean something? MCGEE: Well, he's not just any pool man. He's the Torrance's pool man. Grady's got his own key. Heated. Indoor. Regular monthly maintenance. I looked into it. GIBBS: Royalty checks burning a hole in your pocket, McGee? ZIVA: Already tied Grady to his mother. MCGEE: Body number one. TONY: And now Torrance. ZIVA: Body number two. GIBBS: Let's bring him in. MUSICAL BRIDGE TO: INT. SHEPARD'S OFFICE - DAY SHEPARD: A lot of people were pleased to see Sharif off the streets. MANN: My superiors acknowledge your letter of commendation. I want you to know I appreciate it. SHEPARD: You two make an effective team. MANN: Gibbs and myself? SHEPARD: Well, it wasn't just a flash in the pan, was it? Your service at CID is up in six months. You must have started considering life after the military. MANN: Yes, it has crossed my mind. SHEPARD: The question is how to best serve your future, where the opportunity for advancement lies. It's not too early for a cocktail, is it? MANN: The sun must be down somewhere. SHEPARD: You drink bourbon? MANN: No, not regularly. SHEPARD: Spend enough time around Gibbs, and you'll learn. Believe me. It's an acquired taste. MANN: And when did you first acquire it? SHEPARD: It's been a while. It's something that stays with you, though. CUT TO: EXT. STREET - NIGHT (TONY JOGS TO THE CAR) (SFX: CAR DOOR OPENS/ CLOSES) TONY: Nobody's home, Boss. Neighbors said he went out about an hour ago. What do we do? GIBBS: We wait. TONY: Okay. Colonel Mann still in with the Director? What do you think they're talking about? GIBBS: We wait....silently. TONY: Okay. (bat) I got him! (DOOR OPENS) TONY: Len Grady! Freeze! (MUSIC OVER ACTION/TONY AND GIBBS CHASE GRADY) TONY: Federal agents! (SFX: GRADY TRIPS/FALLS) MCGEE: Up! Up! Up! GRADY: What?! What!? CUT TO: INT. LIVING ROOM - NIGHT (DOOR OPENS) TONY: Bachelor living. ZIVA: Not every bachelor. MCGEE: He's got a card for everything. (READS) Len Grady Painter. Len Grady Fountain Design. Cottage cheese ceilings removed and made smooth. TONY: Anything with a blade on it we should get to Abby. ZIVA: Not really what she wants. She's upset about her shoes. MCGEE: Doesn't sounds like Abby. TONY: Wrong pair of shoes can reduce a woman to tears. MCGEE: She was crying? ZIVA: Practically. MCGEE: Oh, it's not the shoes. TONY: Got something. Yep. White paper package tied with brown string. ZIVA: What is that? MCGEE: It's a pork chop. CUT TO: INT. HALLWAY - DAY MANN: You got our guy in there. GIBBS: Maybe. MANN: What? GIBBS: Nothing. MANN: It seems like you were thinking of something. GIBBS: That's been known to happen. MANN: Something about me. GIBBS: I thought I recognized your perfume. MANN: I don't wear perfume. GIBBS: Must have been something else. (DOOR OPENS) CUT TO: INT. OBSERVATION ROOM GRADY: (FILTERED) So can I just go ahead and pay the fine and get out of here? CUT TO: INT. INTERROGATION ROOM GIBBS: Fine? GRADY: I know I shouldn't have cashed my mother's social security checks. GIBBS: We're not the IRS. She went missing last March. GRADY: She had dementia. It was getting worse. She must have gotten out one day. ZIVA: We're talking about a person here, not a dog. GRADY: I keep hoping she'll come back. GIBBS: You already know where to find her. GRADY: How do I know that? GIBBS: You went to visit her. ZIVA: Brought her flowers. GRADY: My mother's at the cemetery? ZIVA: What's left of her. She was dismembered. CUT TO: INT. OBSERVATION ROOM MANN: Look at his mind spinning. MCGEE: He's trying to figure out how to play him. CUT TO: INT. INTERROGATION ROOM GRADY: I didn't do that. I took care of my mother. I fed her. I cleaned up after her. ZIVA: You must have been praying for it to end. GRADY: (SHOUTS) I loved my mother!(SFX: GRADY BANGS HIS HAND ON THE COUNTER) ZIVA: Maybe you were right the first time. It must have been like putting down a dog. Only no one ever noticed. Getting away with it must have been the most shocking part. GIBBS: And a new career is born. ZIVA: You did it again. And again. Kelly Camarda. CUT TO: INT. OBSERVATION ROOM ZIVA: (FILTERED) Wade Carlin. MANN: Something's not right. ZIVA: (FILTERED) Marilyn Torrance. MCGEE: What do you mean? MANN: He looks relieved. CUT TO: INT. INTERROGATION ROOM ZIVA: Gloria Grady. GRADY: Okay. Stop. GIBBS: You have something you want to tell us? GRADY: All of these people were chopped up? That's disgusting. What kind of person do you think could do that? I mean, you're looking for a monster. What do you want me to say? It's not me. (LONG bat) What now? Want me to do a lie-detector test or something? (DOOR OPENS/ CLOSES) ZIVA: You just did. CUT TO: INT. OBSERVATION ROOM MANN: He's telling the truth. GIBBS: You think I'm wrong? MANN: No. But he was relieved when you connected her with the rest of the bodies. He has no feelings about them at all. GIBBS: It doesn't mean he wasn't involved. MANN: MANN: Maybe. But that doesn't look like a man who feels trapped. That looks like a man who knows he has a way out. (CONT.) There's something much worse than Len Grady out there. Only he knows what it is. (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - DAY MANN: We've got to push Grady harder to tell us what he knows. GIBBS: He won't. MANN: You think he's protecting the real kller? GIBBS: Protecting himself. MANN: Well, I can prove that he's not acting alone. TONY: Trying to run down Grady's van. No luck so far. MANN: He was on foot when you apprehended him. TONY: So what did he do with his ride? MANN: And when did he do it? ZIVA: After he spotted us at the cemetery. MANN: What? He just happened to be visiting? There's no such thing as a coincidence. ZIVA: Well, he wanted information. MCGEE: He was there to watch us. MANN: But, he got there as quickly as I did, so how did he know about the investigation? MCGEE: He's got a friend on the inside. MANN: A-ha. One person's a psychopath. Two people's a conspiracy. So who is he talking to? Grady doesn't leave here until we know everything about him. You start with yesterday and you work backwards. GIBBS: (LONG bat) Go. MANN: Forensics? MCGEE: Boss... MANN: Yeah? MCGEE: (TO GIBBS) Um, if you're going to go see Abby, I think you should know she's going through something and I'm not... GIBBS: Not going empty-handed, McGee. MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY ABBY: Gibbs. And Lieutenant Colonel Mann. MANN: Abby... ABBY: Can I interest you in some knives? I've got kitchen knives, pen knives, pocket knives, Swiss Army knives. Razor blades, Exacto blades, scissors, saws, scalpels, hedge clippers, an adze, an awl, a fish scaler, and even a golf-hole cutter. MANN: All recovered from Grady's pig sty? ABBY: Reflected in the care he used to maintain his cutlery. There's dings and nicks and dull edges. None of these correspond to any of the precise incisions used to dismember the corpses. For such a slob, he certainly is careful when it counts. There wasn't a single trace of human blood anywhere. MANN: Human blood. ABBY: Our boy Grady is something of a carnivore. From the remnants on his silverware, I could pretty much tell you every meal he had for a week. Liverwurst, knockwurst, pastrami, roast beef, rack of lamb. Which leads us to...this. MANN: The pork chop from his freezer. ABBY: Probably his next meal. When I blow it up, it gets real interesting. MANN: It matches the incisions on the bodies. ABBY: Tool mark analysis isn't as precise as say fingerprints or ballistics, but I can conclusively tell you that none of the blades in Grady's possession carved that pig. MANN: Well, why would they? He probably had it carved at... his partner's a butcher! (MANN WALKS O.S.) ABBY: Don't you have work to do? Look, it's not something that you can fix in the classic Gibbs' ht and run style. Okay? GIBBS: I've got time, Abs. ABBY: It's stupid. It's just... the guy. I'm not going to start spilling my guts just 'cause you keep standing here. (LONG bat) All right, apparently I am too much for him. Can you imagine that? Me? And it's not what you think. It's not all this. He likes... he likes small women. I got dumped because I'm too ... too big. Don't even bother with the..."no, it's him. He's too small." Or "if he can't accept you for who you are, then it's his problem thing." He just doesn't think that we could make it work. And I've done everything I can to try to convince him that he's wrong. So I guess I'm just going to have to accept it. And let it go. (bat) Thanks, Gibbs. You always know what to say. CUT TO: INT. SQUAD ROOM - DAY TONY: Metro P.D. responded to the BOLO on Grady's van. ZIVA: So far thirteen possibles and counting. MANN: McGee. MCGEE: Supermarkets, slaughterhouses, any place with a butcher on site within a twenty block radius of Grady's residence. MANN: Narrow the search to boutique shops. They'd need their privacy. MCGEE: There's just one. ZIVA: Just one? TONY: Boutique butcher's a dying industry. MANN: Where? MCGEE: Le Cochon, Mass Avenue. MANN: All right, get a list of employees, owners past and present. GIBBS: Let's roll! MUSICAL BRIDGE TO: INT. LE COCHON - DAY (SFX: DALTON CHOPS MEAT) GIBBS: Ms. Dalton.(DOOR OPENS) DALTON: I thought you said you didn't need me. MANN: What's your relationship with Len Grady? DALTON: Lenny's my boyfriend. Why? What's going on? MANN: You told Grady you spoke with us earlier. DALTON: Yeah, I mentioned it. (bat) Is this about the investigation? (bat) Where is Len? TONY: In custody. MANN: We suspect he's committed at least five mrder. DALTON: That's impossible. Len would never hurt any... (bat) five? MANN: At least. GIBBS: Where's your freezer? (MUSIC OVER ACTION/ZIVA/ TONY/ MCGEE SEARCH THE STORE) TONY: Nothing in here, Boss. ZIVA: Just a pork, beef and lamb. DALTON: What else would there be? MCGEE: Human blood. DALTON: Human? GIBBS: What's in here? DALTON: It's a freezer I use for overflow to store geese and turkeys in the holidays. GIBBS: Got a key? (SFX: GIBBS UNLOCKS THE PADLOCK) DALTON: What kind of evidence did you say that you found in my grandfather's crypt? MANN: Does Grady have access to your store? DALTON: He's here all the time. Look, this can't be happening, okay? There must be some kind of... (SFX: FREEZER DOOR OPENS) (MUSIC OVER ACTION/DALTON RUSHES FROM THE ROOM GAGGING/ VOMITING) CUT TO: INT. INTERROGATION ROOM DALTON: He was a regular customer. Every week like clockwork. It was the only time that he could get away from his mother. ZIVA: He felt trapped. DALTON: I could tell that he needed to get on with his life. It started with a few words here and there. And then before long we were... ZIVA: Together. DALTON: Not fully, no. We didn't trade keys until ... after she um... disappeared. ZIVA: He learned your trade. DALTON: I taught him. He always wanted to try new things. I never suspected that...how could I not have seen it? GIBBS: Love makes you blind. DALTON: No. I must be some kind of monster. CUT TO: INT. OBSERVATION ROOM MANN: Is she the monster you were talking about? GRADY: No. She loves me. TONY: How? GRADY: We're in love. MANN: Well then she had to know about it. She had to know the real you. GRADY: She didn't do anything. MCGEE: You're right. She could have stopped you. TONY: She should have stopped you. MANN: Well, if it was real. GRADY: She didn't know! I hid it! I hid everything! Just leave her out of it! (SHOUTS) Natalie, I'm sorry! I'm sorry, Natalie! I'm so sorry! CUT TO: INT. INTERROGATION ROOM GRADY: (V.O./MUFFLED) I'm sorry!! I love you!! CUT TO: INT. OBSERVATION ROOM GRADY: (SHOUTS) I'm sorry!(DOOR OPENS/ CLOSES) GIBBS: Let's try this again. Marilyn Torrance. GRADY: She was swimming in her pool. I drowned her. GIBBS: Wade Carlin. GRADY: Natalie was at the wholesale market. He came him for a sandwich. I sab him. She was a hooker. I was lonely. Natalie was out of town! I strangled her. And the kid was nobody. Nobody. I just sht him! MANN: You kept him in the freezer for over a year? Why'd you move the bodies? Why'd you move them!? GIBBS: He needed the space. GRADY: No one could have stopped me. MANN: You were going to kll again. GIBBS: (bat) He already did. MANN: What'd you do with the body? GRADY: It doesn't matter. It doesn't matter. (GRADY STRUGGLES/ SHOUTS) GRADY: No! No! No! No, Natalie!!(DOOR CLOSES) (GRADY'S MUFFLED SHOUTS B.G.) MANN: Find the van, find the body. GIBBS: Let her go. CUT TO: INT. ABBY'S LAB - DAY (SFX: DOORS SLIDE OPEN) ZIVA: Still at work? ABBY: Yeah. I was just catching up on some things. ZIVA: Cheek swabs. Hey, your music's back on. You're feeling good again. ABBY: Maybe not good. Not yet. But better. You know, um... sometimes a guy can get you all tied up inside. ZIVA: Yes. ABBY: And then you can't get the knots out. ZIVA: Yes. ABBY: Well, it just really helped me to talk things out with Gibbs, you know, and unknot the knots. 'Cause even if you don't let it show, people can still tell. So you know, if you ever want to talk about Lieutenant Sanders... ZIVA: I liked him. He died. And what else is there to say? (ABBY HUGS ZIVA) ZIVA: Well, I'm glad you feel better. CUT TO: INT. CAR - MOVING MANN: With the right partner, you can make the perfect monster. GIBBS: Oh, yeah. Give me a little old time romance. (SFX: MANN LAUGHS) MANN: Someone's got hidden skeletons of his own. You know, if I ever find myself in a dire situation, (V.O.) the proverbial body I need to get rid of, (ON CAMERA) I think I would tell you. GIBBS: Yeah? MANN: Yeah. CUT TO: EXT. CAR - NIGHT (SFX: CAR DOORS OPEN/CLOSE) GIBBS: What makes you think I wouldn't turn you in? MANN: If there's one thing you're good at, Jethro, it's keeping your mouth shut. You made the right call letting the girl go. It seems you always make the right call when it involves a case. (SFX: VAN DOORS OPEN) MANN: Oh, son-of-a.... (MUSIC UP AND OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x17 - Skeletons"}	foreverdreaming
"ICEMAN" MUSIC IN: INT. AUTOPSY LAB - NIGHT (SFX: DOORS SLIDE OPEN) DUCKY: Corporal Liam Michael O'Neill. That's a good Irish name. I'm from Scotland myself. I hope you won't hold that against me. Twenty-four years old. Too young for us to be meeting on this chilly morning. United States Marine Corps. Found face down in a snow drift in Montrose Park. Well, how did you end up there, at six o'clock in the morning? Not stumbling home from a big night out, I trust. Now that would be a tragic waste of a young life. This is the place where death rejoices in teaching the living. Liam, what can you teach us? (LONG bat) Ooh. A wee bump. Oh, perhaps I spoke too soon. Perhaps you weren't the architect of your own destruction. (SFX: TEA KETTLE WHISTLES B.G.) (SFX: LIAM GASPS) DUCKY: Ah!! (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY "ICEMAN" TONY: There is nothing lucky about waking up during your own autopsy, Probie. MCGEE: Least you know you're not dad. TONY: Ducky's the one who's lucky. ZIVA: Why is Ducky lucky? TONY: Well, well. Look who's finally here. ZIVA: Oh, like you've never been late, left early, or gone mysteriously missing. TONY: Oh no, that's my point exactly. Tardiness is my middle name. In fact, it's expected of me. You, on the other hand, have become the poster girl for punctuality. (SFX: ZIVA LAUGHS) TONY: Late night? ZIVA: Early morning. Run. New route. Took longer than I expected. Will run faster tomorrow. Now why is Ducky lucky? TONY: We found a dad man walking. ZIVA: I've had enough of dad men walking. MCGEE: No, this one was really dad. Ducky was about to start the autopsy and he came back to life.... like Lazarus. TONY: No, like Liam. Liam O'Neill. Corporal. MCGEE: Who was a communications specialist attached to Marine Supply Division/Combat Support Hospital in Baghdad. TONY: On a fifteen day leave from his unit in Iraq. Third tour. ZIVA: Hardcore Marine. TONY: Due to fly back to Baghdad day after tomorrow. ZIVA: How does a man who is not dad, end up on Ducky's autopsy table? MUSICAL BRIDGE TO: INT. AUTOPSY LAB - DAY DUCKY: It was the Metro Police. They reported a dad man, not an unconscious one. You know, there's an old paramedic saying, "They're not dad until they're warm and dad." Can't really blame them. Face down in a snow drift, core temperature twenty degrees below normal. No discernible heartbeat. Could have been there for hours. It's not an unreasonable conclusion under the circumstances.(SFX: TEA KETTLE WHISTLES B.G.) GIBBS: C.P.R.? DUCKY: By their estimation, he was long dad. C.P.R. is for the recent dad. Never crossed their minds. You know, the physiology is very interesting. Faced with imminent death, the brain begins to switch off the lights to preserve the last flicker of life and hope. GIBBS: Prognosis? DUCKY: DUCKY: Well, children have been known to make a full recovery after being pulled from freezing rivers, ooh, two hours after they've apparently drowned. Adults are rarely so lucky. (CONT.) He'll be on a ventilator, and the hospital will constantly check his condition. GIBBS: Got nothing for us here, Duck. DUCKY: Well, on the contrary. He had a lump on his left temporal area, and bruising on the back and sides of his neck. He didn't fall into that snow drift. No, he was struck on the side of the head. His face was pushed into the snow, violently held by his neck and the back of the head. Probably until he stopped thrashing. How's that for starters? MUSICAL BRIDGE TO: EXT. PARK CLEARING - DAY MCGEE: Not much to see. ZIVA: I wouldn't say that. (SFX: TONY TALKS INTO TELEPHONE B.G.) MCGEE: He sure calls her a lot. ZIVA: Oh, she calls him more often than he calls her. MCGEE: Meaning? ZIVA: Commitment issues. She is. He's not. TONY: (INTO PHONE) What time? Okay. Are you going to give me a clue about this mystery date? Jeanne, gym shoes is not a clue. Naked is a clue. You want me naked? All right, you don't want to see me naked. All right. I'll bring you gym shoes. 'Bye. ZIVA: Glad you could join us. TONY: Well, there's not much to see. GIBBS: (INTO PHONE) Appreciate it. (TO ALL) Corporal O'Neill was wearing a light shirt, and no jacket. What's that tell you, McGee? TONY: Jacket was stolen? ZIVA: Or he left it close by. GIBBS: Or someplace warm. MCGEE: There's no houses nearby. Service road's close, though. TONY: Car! MCGEE: Silver ninety-seven Mustang. License plate delta zulu one five lima three seven... MUSICAL BRIDGE TO: EXT. PARKING LOT - DAY MCGEE: Bingo on the jacket. The motive wasn't robbery. Sequentially numbered bills. Freshly minted. Five hundred dollars. ZIVA: Heater is set high, ignition is on. Must have sat here with the engine running. TONY: Guess he left in a hurry. GIBBS: Well, he didn't leave fast enough. CUT TO: INT. ABBY'S LAB - DAY ABBY: Good afternoon, Gibbs. GIBBS: Well, good afternoon, Abs. How did you know it was me? ABBY: Because I found something. And whenever I find something, you always know. Then you come see me. GIBBS: I do? ABBY: Well, yeah. If I didn't then you wouldn't be here. Have you been listening? GIBBS: You found what, Abs? ABBY: This. In his left trouser pocket. It's organic. GIBBS: Illegal? ABBY: We could smoke it and find out. Kidding. I'm going to let the mass spec smoke that. But I also found this, a receipt from a restaurant in Baghdad. GIBBS: Corporal's on his third tour, Abs. ABBY: But he's been on leave for three weeks. So what was he doing in Baghdad three days ago? See the date? I think he had a falafel... GIBBS: That's a good catch, Abby. ABBY: Do you think it's ESP? I mean, that you always know when I find something? And if it is ESP, are you reading my mind or am I sending you some sort of weird brain thoughts out of my head and into yours? Come back, Gibbs. Come back, Gibbs. (GIBBS WALKS O.S.) CUT TO: INT. SQUAD ROOM - DAY MCGEE: Boss, I got it. I cross-checked it with ICE. O'Neill left the country eight days ago using his own passport. He was traveling as a private citizen. Arrived back in the country two days ago. GIBBS: Record of travel? MCGEE: Direct to Frankfurt, then on to Baghdad. Came back the same way. TONY: Wouldn't call Baghdad one of your top ten tourist destinations. MCGEE: Especially if you've just come from there, and you're going back. ZIVA: And people shting at you. TONY: Or trying to blow you up. GIBBS: Airline? MCGEE: He didn't fly commercial. Flew there and back with an air freight company called Fast Flight. Operates out of the warehouse near Dulles Airport. GIBBS: Address. Ziva? CUT TO: INT. WAREHOUSE - DAY TAYLOR: (INTO PHONE) The landing fees are a rip-off. Damascus then. Well, what about Cairo? VOICE: (V.O./FILTERED) I've already checked. TAYLOR: (INTO PHONE) Look, you're just going to have to find me a better gas station right now or I'm going to have to push that damn plane all the way home. VOICE: (V.O./FILTERED) I'll find you something, Taylor. Don't sweat it. TAYLOR: (INTO PHONE) You do that! (TO GIBBS) Who are you? GIBBS: Federal agents. TAYLOR: NTSB? GIBBS: NCIS. TAYLOR: (LAUGHS) Right. You gotta love those acronyms. Maybe that's what this company needs. Huh? An acronym. ZIVA: Bad day, Mister Taylor? TAYLOR: I guess that depends on what you want. Excuse me. GIBBS: Liam O'Neill. You flew him to Baghdad and back this week. TAYLOR: All legal. Had a passport, cleared customs. Filed the paperwork. ZIVA: Why did he fly with you? TAYLOR: Fast Flight. Oh, F.F. There's an acronym for you. Stands for free flights. ZIVA: You flew him free of charge? TAYLOR: Ex-Royal Air Force, a good deed for a serving Marine. Don't get a lot of people hitching a ride to Baghdad. ZIVA: Why was he going to Baghdad? TAYLOR: Ah, said he was on leave. He just found out his unit had been ht. One of his buddies was wounded. Wanted to see him. What's he done? ZIVA: Someone tried to kll him. TAYLOR: (bat) Is he going to be okay? ZIVA: Maybe. GIBBS: Something you want to add? TAYLOR: Some guys met him outside Baghdad International Airport. (SFX: CELL PHONE RINGS) GIBBS: What guys? ZIVA: (INTO PHONE) Yes. TAYLOR: (SPELLS) B.A.G.s. Bad ass guys. With gn.(SFX: ZIVA SPEAKS QUIETLY INTO THE PHONE) GIBBS: Plenty of them in Baghdad. You ask him about it on the flight home? TAYLOR: Wasn't very talkative. His buddy didn't make it. ZIVA: Someone's with Corporal O'Neill at the hospital. GIBBS: Next of kin? ZIVA: He has no next of kin. MUSICAL BRIDGE TO: INT. HOSPITAL ROOM - DAY FRANKS: Hello, Probie. GIBBS: Hello, Mike. You know this Marine? FRANKS: He's my son. (MUSIC UP AND OUT) FADE IN: INT. HOSPITAL ROOM - DAY (SFX: STEADY BEEP TONES B.G.) ZIVA: Here you go. Black. No sugar. FRANKS: Thanks. GIBBS: You never told me you had a son. FRANKS: Didn't find out 'till a couple of years ago. Got a phone call one day. It was him. He tracked me down. We met. Had a few beers. He was just about to deploy. Didn't hear from him again until a couple of days ago. Said he was in trouble. GIBBS: What kind of trouble? FRANKS: Didn't say. You wouldn't know it now, but he's got his mother's hair. Used to blow across her face and get in her eyes. She'd get so pissed! And I'd laugh. She died a few years ago. We were only together the six months. Didn't even know she was pregnant when she left. GIBBS: What do the doctors say? FRANKS: What doctors always say. Not much that makes any sense. Doing tests. Brain waves and reflexes. All that neurological stuff. Do you know who did this, Probie? GIBBS: Not yet. FRANKS: Guess you wouldn't tell me if you did. GIBBS: No. You need a place to stay tonight, Mike? FRANKS: Might just stay here with my boy. MUSICAL BRIDGE TO: INT. ADMISSIONS - DAY GIBBS: Is there any hope? LEISTEN: As I was just explaining to your colleague, the patient is unresponsive to external stimuli. GIBBS: His name's Corporal O'Neill. LEISTEN: Corporal O'Neill. There's still more testing to do, which will determine if there's any cerebral circulation present. But at this point, it would e wrong to offer any hope. GIBBS: When will you know for certain? LEISTEN: Tomorrow. ZIVA: Thank you. LEISTEN: Sure. (LEISTEN WALKS O.S.) ZIVA: He knows? GIBBS: He knows. CUT TO: EXT. CLIMBING WALL - NIGHT JEANNE: Didn't I say gym shoes? TONY: Oh, yeah. Well, you know me. Always following doctor's orders. JEANNE: Did you ever climb one of these before? TONY: No. JEANNE: Nervous? TONY: Should I be? JEANNE: It's a long way up. TONY: Oh, yes is it. And once you're up, it's a long way down. JEANNE: Oh, you're all strapped in. You'll be fine. (SFX: TONY GRUNTS/GASPS) TONY: (GASPING) Oh, you want to ease that one off a little bit? Thank you. JEANNE: I'll be climbing beside you. Let me just.... TONY: Okay. JEANNE: Good look for you. Okay. TONY: Is this going to be a race? JEANNE: No, speed climbing is for the experts. TONY: Experts like you? JEANNE: When you're ready. TONY: Huh. Okay. (MUSIC OVER ACTION/CLIMBING) (SFX: LAUGHTER) TONY: So what do I get if I bat you to the top? JEANNE: You get to tell me you love me. TONY: If I don't bat you? JEANNE: You still get to tell me you love me. TONY: So is that followed by other physical pursuits? JEANNE: If you're not too tired. TONY: Oh. I'm never too tired. JEANNE: Hey, wait! (MUSIC OVER ACTION) JEANNE: Cheater! You told me you'd never climbed before! TONY: No, I said I've never climbed one of these before...... (MUSIC OVER ACTION) TONY: Oh, I'm going to bat you. And I'm there! You're good! JEANNE: You're better. How can I ever trust you again? Where did you learn to climb? TONY: There was this big ol' pine tree in my back yard. It was about three times higher than we are now. And I used to climb it all the way to the tippity top. One day I refused to come down and my mom called the fre department. JEANNE: Why didn't you want to come down? TONY: The view was too beautiful. Just like it is now. JEANNE: (LONG bat) You bat me to the top. You know what that means. TONY: Other physical pursuits? Last one down is on top. (SFX: TONY RAPELS DOWN THE ROCK FACE) CUT TO: INT. ABBY'S LAB - DAY ABBY: It's just so sad, you know? You have a son you never knew about for all those years. And then right when you find out. Oh, it doesn't seem fair. Maybe you should call all your old girlfriends, you know, just to check. MCGEE: That won't take long. What I mean is, I can't imagine any of them having a baby without telling me. Tony, on the other hand... (SFX: CELL PHONE RINGS) ABBY: Last ten numbers called and received. MCGEE: And voicemail. (SFX: COMPUTER BEEP TONES) MCGEE: MCGEE: The voicemail is protected by a pin number. And it's going to take some time. Okay, a bunch of international calls. Prefix nine six four. It's Iraq's country code. (CONT.) Five calls back and forth to Fast Flight. Second to last dialed and second to last received are the same number. In the name of Pagoda Investments. It looks like we might have a money trail. CUT TO: INT. SQUAD ROOM - DAY MCGEE: Company is owned by Jalil Shaloub. Known to his friends and enemies as "Jimmy." Small time investment advisor, big time loan shark. Also on Homeland Security's watch list. Iraqi father. Lebanese mother. Moved here after the first Gulf wr. ZIVA: Any active surveillance? MCGEE: None that anyone is admitting to. Shaloub channels money into a Beirut investment bank, which may or may not support Hezbollah. ZIVA: Hezbollah? He walks a dangerous path. TONY: What's the connection with Corporal O'Neill? ZIVA: Could be software, hardware, troop deployments, timetables. O'Neill could be a seller. MCGEE: Or a buyer. TONY: Either way he keeps bad company. MCGEE: You think Franks knows? MUSICAL BRIDGE TO: INT. JIMMY SHALOUB'S OFFICE ZIVA: Know him, Mister Shaloub? JIMMY SHALOUB: Marine Corporal Liam O'Neill. He came to see me. GIBBS: When? JIMMY SHALOUB: Two days ago. GIBBS: About? JIMMY SHALOUB: What all of my clients come to see me about, Agent Gibbs. Money. GIBBS: You give him any? JIMMY SHALOUB: No, I decided he was too risky a proposition. ZIVA: What interest rate do you charge? JIMMY SHALOUB: Why? Do you need a loan? ZIVA: (CHUCKLES) Fifty per cent? One hundred percent? Two hundred per cent? I would say the risk is theirs. How much did Corporal O'Neill want? JIMMY SHALOUB: Twenty-five thousand dollars. GIBBS: For? JIMMY SHALOUB: My policy is not to ask. ZIVA: Maybe you didn't have to. JIMMY SHALOUB: We met, we drank coffee, we did not do business. He told me nothing about why he needed the money. GIBBS: How soon did he need it? JIMMY SHALOUB: Immediately. GIBBS: Cash? JIMMY SHALOUB: Of course, all my clients prefer cash. GIBBS: Even the ones in Beirut and Baghdad? JIMMY SHALOUB: I'm sorry I can't be more helpful. From all the questions you're asking, I can only assume that Corporal O'Neill is involved in some criminal activity, Agent Gibbs. ZIVA: You mean like you? JIMMY SHALOUB: If you believed that, Officer David, we would be meeting in your office, not mine. GIBBS: (V.O.) Is there someone you can call? CUT TO: INT. SQUAD ROOM - DAY ZIVA: Might have a friend in Tel Aviv. GIBBS: Make it happen, Ziva. ZIVA: Shared intelligence. GIBBS: I'd settle for any. McGee? Turn over the rock on this guy: company records, IRS, bank details. MCGEE: I'll check the Homeland Security file. What am I looking for? GIBBS: You'll know it when you see it. (ELEVATOR DINGS/ DOORS OPEN/ CLOSE) GIBBS: How is he? FRANKS: They're done testing. Liam mixed up with him? GIBBS: McGee. FRANKS: Who is he? GIBBS: Can't say. FRANKS: Whatever he's done - good or bad - he's still my boy. GIBBS: Nothing else I can tell you. FRANKS: It's not why I'm here. MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY ABBY: That's everything - apart from his clothing, and his car. We're still checking that for prints. FRANKS: Said it belonged to his mother. Her religion... and mine. It's wr and peace. Can you release these? I need one more thing, Probie. A witness. MUSICAL BRIDGE TO: INT. HOSPITAL ROOM - DAY (SFX: STEADY BEEP TONES B.G.) (SFX: BEEP TONES QUICKEN) FRANKS: That's okay. (SFX: CURTAIN CLOSES) (MUSIC OVER ACTION/FRANKS PLACES THE ROSARY IN LIAM'S HAND) (SFX: STEADY BEEP TONE UP AND OUT) CUT TO: INT. ABBY'S LAB - DAY ABBY: I waited for you, Gibbs. GIBBS: You got something. ABBY: I do. And you're not going to like it. The print on the left was lifted from inside Liam's car. The print on the right is a match from our data base. Franks was in the car, Gibbs. (MUSIC UP AND OUT) FADE IN: INT. SQUAD ROOM - DAY MCGEE: How much did Franks know? ZIVA: Not enough to save his son. TONY: Maybe not much at all. You ever tell your dad what you were up to, Probie? MCGEE: Everyday. TONY: Wrong person to ask. ZIVA: Liam flew to Baghdad, met some bad guys. Flew back, and someone tried to kll him. MCGEE: Succeeded. ZIVA: Deal gone wrong, maybe? GIBBS: Dealing what? ZIVA: He was a communications specialist - equipment, software, secrets. TONY: Only had limited access. Didn't know any secrets. (PHONE RINGS) GIBBS: (INTO PHONE) Yeah. Gibbs.(BEGIN TELEPHONE INTERCUTS) (SCENE CUT) FRANKS: (INTO PHONE) Any news for me, Probie? GIBBS: (V.O./FILTERED) Could be, Mike. (SCENE CUT) GIBBS: (INTO PHONE) Come on in. I'll brief you. (SCENE CUT) FRANKS: (INTO PHONE) Why don't you come to me? GIBBS: (V.O./FILTERED) Where? (SCENE CUT) FRANKS: (V.O./FILTERED) Fourth and H by the South Beach Freeway. GIBBS: (INTO PHONE) I'll be right there.(END TELEPHONE INTERCUTS) TONY: Need any backup, Boss? GIBBS: Friend, not foe, Dinozzo. TONY: We hope. (SFX: TELEPHONE BEEP TONES) JEANNE: (V.O./FILTERED) Hey, you've reached Jeanne. Leave a message. TONY: (INTO PHONE) Hey, this is your friendly neighborhood stalker leaving his third message of the day. I hope everything's okay. Call me when you can. Ciao. ZIVA: Did she give you the cold elbow? TONY: Shoulder. And no. She has very warm shoulders to me. ZIVA: Are you two fighting? TONY: We don't fight. ZIVA: Well maybe she does and you haven't even noticed. Or maybe you said something that hurt her. Or maybe you said nothing, when you should have said something. TONY: Hmm. She's just busy. High stress job. Not a lot of time for phone calls. Do you mind? ZIVA: Of course. TONY: Thanks. (INTO PHONE) Hi, I'm trying to contact Doctor Jeanne Benoit. I was wondering if you might-- OPERATOR: (V.O./FILTERED) Oh, I'm sorry. She's already left for today. TONY: She has? What time? OPERATOR: (V.O./FILTERED) About an hour ago. Would you like to leave a message? TONY: (INTO PHONE) No. No message. OPERATOR: (V.O./FILTERED) Okay, then. TONY: (INTO PHONE) I'll call her at home. Thanks. OPERATOR: (V.O./FILTERED) You're welcome. CUT TO: EXT. INDUSTRIAL AREA - DAY (SFX: CAR BRAKES TO A STOP) GIBBS: Found your prints in his car, Mike. FRANKS: Figured you probably would. GIBBS: You should have told me you saw him. FRANKS: Didn't want you asking me too many questions. GIBBS: About? FRANKS: What my son was involved in. GIBBS: Are you going to tell me? FRANKS: I saw him a couple of days ago. He needed money. Just about cleaned me out. But I got it for him. Twenty-five thousand. He took five hundred, asked me to hold the rest. Said it was safer that way. Said he would call me when he needed it. Never called. GIBBS: What's this about? FRANKS: Wouldn't tell me. GIBBS: He wouldn't tell you, or you won't tell me? FRANKS: We're getting more alike, you and me, Probie. Even feeling the same pain. I don't know how you didn't go crazy when you lost your little girl. Maybe you did for a while. Maybe you still are. I just know I got to do what's right for my boy. I owe him that. GIBBS: Let me handle it. You got to be somewhere? FRANKS: I want the body sent to my place in Mexico when Ducky's done with it. Can you arrange that for me? GIBBS: I don't want to have to come after you, Mike. FRANKS: Then don't. MUSICAL BRIDGE TO: INT. JEANNE'S APARTMENT - DAY (KNOCK ON DOOR) (DOOR OPENS) TONY: Hey.(SFX: MUSIC B.G.) JEANNE: Hey back. TONY: I left some messages. I was getting kind of worried. JEANNE: I'm fine. TONY: I'm not getting that "I'm fine" feeling from you, Jeanne. CUT TO: INT. APARTMENT - DAY TONY: I was going to bring you flowers....(DOOR CLOSES) JEANNE: Where are they? TONY: Uh... I didn't want to stop. Big mistake. Jeanne, this is about uh... about what I didn't say when I bat you to the top, right? JEANNE: I wanted to believe it... you didn't understand what I was saying. I wanted to give you a second chance. And a third chance, and a fourth chance. I've... said it now, Tony, and you never have. TONY: Well, that's not true. JEANNE: "Love you" after "other physical pursuits" is not the same as "I love you." And please, don't insult either of us by saying it now. TONY: Even if I mean it? JEANNE: I don't think you know if you mean it. I love you. Now you need to figure out if you feel the same way. TONY: I don't want to hurt you. JEANNE: Then just go now and figure out what it is that you want for us. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY GIBBS: Ziva, talk to your friend yet? ZIVA: Shaloub is a person of interest, but that is all. No known trror1st links. More concerned with money than ideology. GIBBS: It's Mike Franks' rental. Put a BOLO on it. ZIVA: Well, if he has been here, he's probably booked into a hotel or motel. GIBBS: Start checking. McGee. MCGEE: I'm still trying to crack Liam's voice mail security code. It's a matter of time. GIBBS: It's something we don't have. Dinozzo. TONY: Boss. GIBBS: You help Ziva. ZIVA: Hey, not good? TONY: Not good. CUT TO: INT. ABBY'S LAB - DAY ABBY: Gibbs! You shouldn't be here. I don't have anything for you, and I didn't send out any "calling Gibbs" vibes. GIBBS: I'm not psychic, Abs. Just checking. Did Mike try to get any information about the case? ABBY: I barely saw him. GIBBS: Hasn't phoned? ABBY: No. You thought he might try to sneak a peek at the evidence? GIBBS: I would. ABBY: Well then why didn't he - seeing as you two are so much alike? Peas in a pod, Gibbs. Tweedle Dee, Tweedle Dum. (SFX: BEEP TONES) ABBY: Whoa, Gibbs! You knew before I knew it knew! Before it knew it knew! The green compound we found in Corporal O'Neill's pants pocket. That's what I was going to call you about. This is getting really spooky. Lawsonia inermis. More commonly known as Henna. It's used in body art. Mostly in the Middle East. It's beautiful, but it doesn't last. Not like a real tattoo. GIBBS: Other uses? ABBY: A hair dye. But the tattoos are really cool. They have a lot of intricate patterns and shadings. I should probably get one. What do you think? Don't answer out loud. Just think it. (GIBBS WALKS O.S.) ABBY: I'll take that as a "no." CUT TO: INT. AUTOPSY LAB - DAY DUCKY: Well, here we are again, dear boy. Not the outcome for which either of us had hoped. No more miracles, just answers. (SFX: DOORS SLIDE OPEN) DUCKY: You're two hours early, Jethro. I'm only just beginning. GIBBS: I need tattoos, Ducky. DUCKY: Ah, a direct query demanding a direct response, which in this case, is a direct no. Somewhat surprising for a young Marine. (PHONE RINGS) DUCKY: (INTO PHONE) Autopsy. MCGEE: (V.O./FILTERED) Is Gibbs with you, by any chance? DUCKY: (INTO PHONE) Yes, he is. MCGEE: (V.O./FILTERED) Tell him I cracked the code, okay? DUCKY: (INTO PHONE) Indeed. (TO GIBBS) Timothy says to tell you that he's cracked the code, whatever that may mean. (SFX: DOORS SLIDE OPEN) DUCKY: No peace. Even for the dad. Just wanted to make sure. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY MCGEE: There's only one message in Liam's in-box. VOICE: (V.O./FILTERED) Hey, buddy. Your package arrived at the end of the week. If you want to pick it up, the price just doubled. ZIVA: Nick Taylor. MCGEE: The last call that Liam made was to Fast Flight. Maybe it was to arrange a meeting. TONY: They meet. They argue. They fight. ZIVA: Logged into FAA, Gibbs. Fast Flight - F-F- seven-one-six freight service from Baghdad. We have a problem. It landed an hour and a half ago. MUSICAL BRIDGE TO: INT. WAREHOUSE - DAY (MUSIC OVER ACTION/ALL MOVE INTO THE WAREHOUSE/ SEARCH AROUND CONTAINERS) ZIVA: Clear! TONY: Clear! MCGEE: Clear. ZIVA: Somebody bat us to it. (MUSIC OUT) MUSIC IN: INT. WAREHOUSE - DAY DUCKY: Multiple victims. Multiple wounds. GIBBS: Pray and spray. DUCKY: Possibly. But dad in a matter of fifteen or twenty minutes before you arrived. Jethro, do you think... GIBBS: I'm not speculating, Duck. I want evidence. ZIVA: Gibbs. Blankets, pillows, water bottles. MCGEE: All the comforts of home. ZIVA: Human cargo. MCGEE: Looks to be three of everything. ZIVA: But only two bodies, assuming Taylor was already here at the office. GIBBS: One got away. ZIVA: The sht? GIBBS: Maybe. MCGEE: Boss... (GIBBS LOOKS AT THE SMALL BOOK) GIBBS: Arabic. ZIVA: That's a Koran. CUT TO: INT. SQUAD ROOM - DAY ZIVA: The FAA says all the paperwork was in order when the flight landed. GIBBS: Customs? ZIVA: Only checked the cargo manifest. No X-ray, no physical search of air containers. It was unloaded and taken straight to the warehouse. GIBBS: Air crew? ZIVA: Oblivious. Still at the airport overseeing an engine inspection. MCGEE: Got an I.D. on the other two victims here. Peter Thomas McLean, Private, United States Army. Reported missing three weeks ago from the U.S. Army base in Wuerzburg, near Frankfurt. ZIVA: Missing? MCGEE: Deserted. Unit was shipped to Iraq two days after he disappeared. Second victim is Franz Bernhard Schuler. He's a German National wanted by Interpol for mrder. klled a cop. Believed to be trying to flee Europe for the United States. ZIVA: Made it. Almost. TONY: Taylor was running a passenger service for bad guys. I wonder how much the tickets were? MCGEE: Too much. ZIVA: Which leads us to passenger number three, Muslim and missing. MCGEE: trror1st? ZIVA: Might explain all the dad bodies. Left no one alive to identify him. TONY: Or maybe just a frightened witness who got away. GIBBS: Anything? TONY: Phone company can't track him. Franks must have his cell phone off. MCGEE: He knows we'd be trying to get a hold of him. (PHONE RINGS) MCGEE: (INTO PHONE) McGee. OFFICER: (V.O./FILTERED) This is Metro. We have a ht on your BOLO. MCGEE: (INTO PHONE) Where? (OFFICER FILTERED VOICE B.G.) MCGEE: (INTO PHONE) Got it. Thank you. (TO GIBBS) Metro Police just found Franks' car. CUT TO: EXT. STREET - DAY ZIVA: We could fall back and set up surveillance. GIBBS: Ah, it's too late. TONY: Must be a dozen hotels within a mile of here, Boss. Parked and walked? GIBBS: That's what I'd do. TONY: I'll starting checking them as soon we get back. (SFX: CAR DOOR OPENS) TONY: Oh, boy! (bat) Recently fired. CUT TO: INT. SQUAD ROOM - DAY MCGEE: Do you think he did it? ZIVA: Mike Franks is a very capable man. MCGEE: That extend to mrder? TONY: Revenge. Taylor klled his son. MCGEE: Still mrder... GIBBS: Dinozzo. TONY: Ah... seventeen hotels and motels within fifteen minutes walk of where we found the car. I'm e-mailing the photo of Franks now. GIBBS: Glock? ZIVA: Ah, registered to Nick Taylor. He was a licensed sh*t. GIBBS: McGee, you found anything under that rock yet? MCGEE: I'm still working, Boss. GIBBS: IRS? MCGEE: Clean bill of health. Shaloub pays his taxes. Files his returns. Pagoda's got a modest turnover. The more you look, the less you see. TONY: He's got to hide his money somewhere, Probie. ZIVA: No association with any charities? MCGEE: I know where you're headed, but he's not making any big donations to suspect charities. GIBBS: Travel? MCGEE: In and out of the country seven times over the last four months. Which is odd because this guy is meticulous with his tax returns. He lists all his deductions. All that travel and he didn't claim it as a business expense. TONY: Well someone must have been paying for him. ZIVA: Or he wasn't paying at all. GIBBS: Check when and where he flew against FAA records. MCGEE: All that's going to tell us is what airline he flew. Typing. Same airline every time. Fast Flight. GIBBS: Go get him. CUT TO: INT. INTERROGATION ROOM JIMMY SHALOUB: Sometimes I fly Fast Flight instead of scheduled commercial flights. I wasn't breaking the law, Agent Gibbs. Or any FAA regulations. ZIVA: Fast Flight is only registered to carry freight, not passengers. JIMMY SHALOUB: I wasn't a paying passenger. ZIVA: Taylor was doing you a favor? JIMMY SHALOUB: Let me tell you what you clearly don't know, Agent Gibbs. I helped finance Fast Flight. What you might call a silent partner. Not one of my wiser investment decisions. GIBBS: When? JIMMY SHALOUB: Twelve months ago. ZIVA: How much? JIMMY SHALOUB: Initial outlay was half a million dollars. I have pumped in as much again in the last six months. Free flights to Europe were the only return I was seeing on my money. The company is failing. Taylor is incompetent. GIBBS: Was. JIMMY SHALOUB: (bat) Something's happened? ZIVA: You should know. You were there. JIMMY SHALOUB: Where? ZIVA: The warehouse. GIBBS: Three men sht dad, including Taylor. JIMMY SHALOUB: I had nothing to do with this. GIBBS: Why did you do it? JIMMY SHALOUB: I just told you I didn't! ZIVA: Because Taylor was smuggling people into the country and didn't tell you? JIMMY SHALOUB: No! GIBBS: Or you just found out and wanted a cut of the action. JIMMY SHALOUB: No! I had nothing to do with this, Agent Gibbs. You've got the wrong man. MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY (SFX: gn) (MUSIC OVER ACTION) MCGEE: What's this white stuff? ABBY: Calcium oxide. MCGEE: Lime? Did you use it to dust for prints? ABBY: No. It was already there. There were no prints. Must have been wiped. MCGEE: So how did the lime get on there? ABBY: Same way the crystalline silica did. And it wasn't just on the grip. It was in the slide action. I had to clean it up before I could fre it. (SFX: RAPID BEEP TONES) ABBY: Ooh. MCGEE: Bad? ABBY: Bad. GIBBS: (V.O.) How bad? ABBY: The striations on the bllts match the Glock found in Mike Franks' car. It's the mrder wapon. CUT TO: INT. SQUAD ROOM - DAY TONY: (INTO PHONE) Thanks. (TO GIBBS) Found Franks, Boss. Booked into a hotel fifteen minutes walk from where we found the car. False name, paid cash. Manager I.D.ed him from the photo I emailed. Hotel's at one-one-two-seven Church Avenue. Franks is still there. ZIVA: Will we bring him in? MCGEE: It's glass, Boss. Crystalline silica and calcium oxide - used in glass-making. It was all over the Glock. Even in the slide-action. Abby had to clean it before she could fre it. Anyway, there is a glass manufacturer right next to the Fast Flight warehouse. MUSICAL BRIDGE TO: INT. INTERROGATION ROOM JIMMY SHALOUB: Agent Gibbs, GIBBS: Take off your shoes. JIMMY SHALOUB: What? MCGEE: Need to look at your shoes. (MUSIC OVER ACTION) GIBBS: Wallet. Sequential serial numbers. CUT TO: INT. OBSERVATION ROOM GIBBS: (MUFFLED) Where's the rest? JIMMY SHALOUB: (MUFFLED) You think you can intimidate me, Agent Gibbs? GIBBS: (MUFFLED) McGee? CUT TO: INT. INTERROGATION ROOM MCGEE: Looks like traces of calcium oxide and crystalline silica in the treads. GIBBS: It's used in glass manufacturing. MCGEE: Hollander Glass Company is right next door to Fast Flight. Did you ever notice all that white stuff on the... CUT TO: INT. OBSERVATION ROOM MCGEE: (V.O.)... ground behind the back of their building? That is crystalline silica and calcium.... CUT TO: INT. INTERROGATION ROOM MCGEE: ...oxide. GIBBS: You got it on your shoes when you dumped this into the dumpster behind their building. You should have left it at the scene. JIMMY SHALOUB: It wasn't me! GIBBS: I've got a witness!! CUT TO: INT. OBSERVATION ROOM TONY: I hope we've got a witness. ZIVA: If we can find him. JIMMY SHALOUB: (MUFFLED) I had nothing to do with the mrder of that.... CUT TO: INT. INTERROGATION ROOM JIMMY SHALOUB: ...Marine. Taylor was out of control. Trying to cash-flow his business by people-smuggling. He wouldn't let them leave because he wanted more money. Then he pulls that gn on me. I took it off him! I was defending myself! GIBBS: What about the other two?(DOOR OPENS/ CLOSES) CUT TO: EXT. STREET - DAY GIBBS: Hey! We got him. FRANKS: I knew you'd figure it out eventually, Probie. GIBBS: Unfinished business. That why you went there? FRANKS: I owed him that. GIBBS: Paid the rest of the cash, picked up the package. FRANKS: Came back to the hotel. GIBBS: But you went back again, didn't you, Mike? FRANKS: Shaloub was already there. I heard the shts. I saw him come out of the building in a panic. I saw him wipe the w*apon, and toss it over into the dumpster. GIBBS: You were going to plant it in his car, then give me a call? FRANKS: That was the idea. But you found my rental, and I didn't get a chance. GIBBS: Well, you were a witness. You didn't need to do that, unless you had something to hide, Mike. FRANKS: She's from Mexico. (GIBBS HANDS FRANKS THE KORAN) FRANKS: We left in a bit of a hurry. They were going to be married. Her family in Baghdad said that she shamed them. She's been in hiding for six months. He was desperate to get her out. I don't think any of this is relevant to your case, Probie. GIBBS: I guess not, Mike. (SFX: BABY CRIES B.G.) CUT TO: INT. HOTEL ROOM (CAMERA CLOSE ON SCREEN/ PHOTOS OF JEANNE AND TONY) (MUSIC UP AND OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x18 - Iceman"}	foreverdreaming
MUSIC IN: EXT. PARK BENCH - DAY NELSON: How do you eat that crap? HALL: Easy. Like this. (SFX: NELSON LAUGHS) HALL: An anonymous caller was supposed to meet us here three hours ago, Boss. I say we call it. CASSIDY: (V.O./FILTERED) I would love to, but... CUT TO: INT. CAR - PARKED CASSIDY: (INTO RADIO) ... he claims he has information on a trror1st attck, so here we sit. HALL: (V.O./FILTERED) Guy last Saturday... CUT TO: EXT. PARK BENCH - DAY HALL: .... claimed his dog was a Taliban sympathizer. NELSON: Why are we pulling this crap duty two weekends in a row anyway, Boss? CUT TO: INT. CAR - PARKED CASSIDY: (INTO RADIO) You know, I'm wondering the same thing, Jim. I-- (SFX: CELL PHONE RINGS) CASSIDY: (INTO RADIO) Hold on. Hold on. Stand by. This is him. (INTO PHONE) We're here. Where are you? CALLER: (V.O./FILTERED) Close. Meet me at four zero eight Millstone Avenue. I will explain all inside. CASSIDY: (INTO PHONE) I prefer the meeting on the street. CALLER: (V.O./FILTERED) I do not. I'm a dad man if they see me talking to you! CASSIDY: (INTO PHONE) Who? CALLER: (V.O./FILTERED) The people no one can see. They are everywhere. CUT TO: EXT. PARK BENCH HALL: Invisible folks. This should be fun. CASSIDY: (V.O./FILTERED) Find them, guys. NELSON: I think we just did. CUT TO: INT. CAR - DAY CASSIDY: (INTO RADIO) Yeah, I got him. CUT TO: EXT. PARK BENCH CASSIDY: (V.O./FILTERED) Sunglasses are a nice touch. HALL: How do you want us to handle this? CASSIDY: (V.O.) Pick him up. CUT TO: INT. CAR - PARKED CASSIDY: I'll be right behind you. HALL: (V.O./FILTERED) You got it. CUT TO: EXT. SIDEWALK - DAY (MUSIC OVER ACTION/HALL AND NELSON WALK TO STORE FRONT) (SFX: HUGE explsin B.G.) (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) FADE IN: EXT. BATTING CAGES - DAY "GRACE PERIOD" GIBBS: The secret is to keep your front shoulder in as long as possible. Both eyes stay level on the pitcher. Weight is back, and you track the ball... and you wait. It's all about concentration. (SFX: GIBBS HITS BALLS) MANN: Anyone ever tell you, you've got a cute butt? (F/X: GIBBS SWINGS AND MISSES THE BALL) (SFX: MANN LAUGHS) MANN: I'm sorry. Did I just ruin your concentration, Jethro? GIBBS: No. It was a lousy pitch. MANN: It happens, but you still haven't answered my question. GIBBS: Do you want me to teach you how to ht, or not? MANN: Well, considering my C.O. just placed me in charge of our softball team, yeah. By all means, teach away. GIBBS: This end here... it goes up. MANN: I think I got that part. GIBBS: All right. Inside of your feet shoulder-width apart. Slightly bend the knees. Hands together, knuckles lined up. MANN: Do you teach everyone this way? GIBBS: Yeah. Fast or slow? MANN: Kind of depends on what mood I'm in. GIBBS: Okay, fast it is. (SFX: BALLS ht THE FENCE) GIBBS: You've got to swing to ht it. MANN: I knew I was forgetting something. (MUSIC OVER ACTION/MANN HITS MANY PITCHED BALLS) MANN: Does this thing go any faster? (SFX: CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Gibbs. MCGEE: (V.O./FILTERED) Boss, a bmb just took out two of Cassidy's people. GIBBS: (INTO PHONE) Yeah, I'll be right there. (TO MANN) I've got to go, Hol'. MANN: Hey, what happened to our spending an entire weekend together?! GIBBS: I just lost two NCIS agents. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY ZIVA: Do you know them, McGee? MCGEE: Jim Nelson and I went to FLETC together. I was at his wedding two months ago. TONY: This better not be another recall drill. I had floor seats for the Wizards this afternoon. ZIVA: It's Agent Cassidy's team out of the Pentagon, Tony. MCGEE: They were attcked. TONY: Is she okay? MCGEE: She survived. ZIVA: Her men weren't as lucky. TONY: Well, what the hell happened? GIBBS: That's what we're going to find out, Dinozzo. Grab your gear. (SHOUTS) Grab your gear! MUSICAL BRIDGE TO: INT. RETAIL STORE - DAY ZIVA: Flags of Iran, Iraq, Syria, and Saudi Arabia. What type of a store was this? GIBBS: McGee's working on it, Ziva. DUCKY: Their deaths were almost immediate, if that's any consolation, Jethro. GIBBS: No, it's not, Ducky. DUCKY: No, it never is. All our agents' wounds appear to have been caused by shrapnel. Specifically, ball bearings and nails. The hallmark of a homemade device. ZIVA: All emanating from this central point of the floor. DUCKY: This man appears to literally have been at the heart of the explsin. TONY: He was sitting on the bmb? GIBBS: He was the bmb, Dinozzo. ZIVA: It's electrical wiring. DUCKY: explsive amputation of legs, arms, and head. TONY: A su1c1de bmb. DUCKY: I don't suppose any of you have seen the head? ZIVA: Still looking for it, Ducky. Judging by the holes in the ceiling, I may have to try the roof next. TONY: Why blow yourself up in an empty store? CASSIDY: It wasn't empty, Tony! MCGEE: (bat) She insisted on being part of the investigation. I talked to the landlord. He said he'd just rented this place to a non-profit group. He's pulling the paperwork, calling them now. CASSIDY: (CRYING) It's my fault! It's my fault! TONY: It's not your fault, Paula. CASSIDY: (CRYING) You weren't here, Tony! I klled my team! GIBBS: (OVERLAP) Cassidy, outside. Outside. Take it outside. Dinozzo, find me that missing head! (GIBBS AND CASSIDY WALK O.S.) TONY: Well, it's a drop ceiling. So I think it's probably wedged up there somewhere. Ziva, you're going head hunting. MUSICAL BRIDGE TO: INT. VAN - DAY CASSIDY: (CRYING) I don't need a lecture right now, Gibbs. I really don't. GIBBS: I'm just bringing you this. CASSIDY: Thanks. GIBBS: Tell me about the phone call to the tip line this morning. CASSIDY: Anonymous. Just a guy saying he had info on a potential trror1st attck. GIBBS: Did he name the target? CASSIDY: No, but it was obvious it's us! Oh, I should have gone in with those guys. GIBBS: Well, yeah. Then you'd be dad, too. It was an ambush. There's nothing you could have done. CASSIDY: Would you feel the same way if it was your own team? GIBBS: Yes, I would. CASSIDY: I have a tough time believing that, Gibbs. GIBBS: Yeah, well the difference, Paula, is I wouldn't stop to grieve until I put the bastards responsible for this in the ground. What about you? MUSICAL BRIDGE TO: INT. RETAIL SPACE - DAY DUCKY: You knew him. MCGEE: He was a good friend of mine. I hate seeing him like this. It's almost like... DUCKY: It could have been you. GIBBS: It almost was, McGee. We were supposed to work the hotline this weekend. TONY: Boss, you're serious about that? ABDUL: (SHOUTS) What happened here?! GIBBS: Hang on! Hey! Calm down! Who are you? ABDUL: We work here. JAMAL: For the Muslim Coalition for Peace. ABDUL: Yazeed, was he... was he in here? JAMAL: We were supposed to help him paint this afternoon. ZIVA: (V.O.) I found it! ABDUL: (IN ARABIC) Allah, preserve us. GIBBS: Do you recognize him? JAMAL: Yazeed Fahad, our chapter president. MUSICAL BRIDGE TO: INT. OBSERVATION ROOM CASSIDY: Whatever happened to Gibbs' rule about not putting two suspects in the same room? TONY: More of a guideline. ABDUL: (FILTERED) You are not listening to me, Agent Gibbs. CUT TO: INT. INTERROGATION ROOM ABDUL: Yazeed Fahad was a man of peace! JAMAL: He condemned su1c1de bmb as cowards, agents of evil. ABDUL: And now you wish us to believe that he was one? ZIVA: He was wearing the bmb. ABDUL: Then he was forced to put it on! GIBBS: By who? JAMAL: Timing was not a coincidence. ABDUL: Yazeed organized a meeting with both Shia and Sunni religious leaders for this Friday. JAMAL: Clerics and holy men from five different Arab countries will be in attendance. ABDUL: All of them prepared to issue Fatwas condemning the sectarian volence in Iraq. JAMAL: Their words could save thousands of lives. ABDUL: How many will attend if they find the man who planned it was a su1c1de bmb? GIBBS: Where were you this afternoon when your president was blwing himself up? JAMAL: Lunch. Together. ZIVA: Where? ABDUL: We don't have to answer these questions. We're not criminals! GIBBS: Well, I think you should both get a good lawyer. ABDUL: But we did nothing to... JAMAL: JAMAL: Grace Street Diner. We were there between one and two-thirty. (TO ABDUL) They're only doing their jobs, Abdul. (CONT.) When they do, they'll see that Yazeed was innocent. CUT TO: INT. OBSERVATION ROOM CASSIDY: I'm going to go with you. TONY: Gibbs wants you here, Paula. CASSIDY: Why? TONY: Ask him. (DOOR OPENS/ CLOSES) CUT TO: INT. ABBY'S LAB - DAY CALLER: (V.O./FILTERED) I cannot give you my name! OPERATOR: (V.O.) Sir, we have standard procedures. CALLER: (V.O./FILTERED) If you want to stop this attck, you will have an agent meet me! (SFX: TAPE REWINDS) ABBY: McGee? Is that you? How long have you been sitting there? MCGEE: Not long. ABBY: I'm really... sorry about Jim Nelson. I know you guys were really close. MCGEE: I wouldn't have graduated from FLETC without his help. ABBY: Then we would have never met. MCGEE: Or maybe he'd still be alive. We were supposed to take the weekend shift. Those bodies downstairs should be us. ABBY: Timothy, don't even think things like that, okay? Everything happens for a reason. (ABBY HUGS MCGEE) GIBBS: I'm not even going to ask. ABBY: Um, technically that was a squatting hug, or a "squg," if you will. But I digress. GIBBS: Yeah, big time. MCGEE: I have some paperwork to do. GIBBS: What have we got? ABBY: I analyzed and compared the two tip-line calls, the one from this morning and the one that Agent Cassidy got on site. Same caller both times, and I'm assuming that it's this guy. Yazeed Fahad. CASSIDY: Can you tell us something that we don't know, Abby? ABBY: Ah okay, how about this. He was in the Navy, and he was honorably discharged in two thousand four. CASSIDY: Our su1c1de bmb was a sailor? DUCKY: (V.O./FILTERED) I wouldn't be too quick to rush to judgment on that, (ON CAMERA/FILTERED) Agent Cassidy. Jethro, could you come down here? (V.O./FILTERED) There's something you really must see. CUT TO: INT. AUTOPSY LAB - DAY DUCKY: It appears we have a bit of a mystery. I'm not entirely certain how our guest died. GIBBS: Well, it's kind of obvious, Duck. DUCKY: Yes, if I base the results solely on the damage to his body. Fortunately we have this miraculously preserved head. And the rate of decay of his brain tissue doesn't even come close to the time of the explsin. CASSIDY: I saw that guy walk through the door, Ducky. DUCKY: Well, Agent Cassidy, I don't see how that's possible. Our su1c1de bmb was dad at least one day before his bmb went off. (MUSIC UP AND OUT) MUSIC IN: INT. SHEPARD'S OFFICE - NIGHT (DOOR CLOSES) GIBBS: Are you okay? SHEPARD: I just got off the phone with Amy, Special Agent James Nelson's bride of two months. Correction. Widow. Now I have to call Tom and Mary Hall. I don't like making these calls, Jethro. GIBBS: No C.O. does, Jen. SHEPARD: I know, but... GIBBS: What? SHEPARD: This isn't Iraq or Afghanistan. My people are not supposed to be klled by su1c1de bmb here. GIBBS: No, but they were, Director. And it'll happen again if you stand around here feeling sorry for yourself. SHEPARD: I am not feeling sorry for myself, Jethro. I'm feeling sorry for the agents and their families. But you're right. I have a call to make and you have a trror1st to kll - (bat) catch. GIBBS: By the way, Ducky says the bmb was dad at least a day before he blew himself up. You might want to give that some thought. MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY ZIVA: Swabbed his apartment. Not a trace of explsives. He was a former sailor. President of the Muslim Society for Promoting Peace. Tony checked out his friends. Their alibi holds up. They were at a restaurant when... CASSIDY: (OVERLAP) You going to make a point soon? ZIVA: Yes. Who did you see entering the building yesterday, Cassidy? CASSIDY: I'm not convinced that it wasn't this guy. I mean, how do we know that Ducky didn't make a mistake? ZIVA: Tony? TONY: Because Ducky doesn't make mistakes, Paula. ZIVA: Which means that what you saw yesterday was, by definition, mistaken. CASSIDY: Look, even if he did die the day before, it doesn't mean he wasn't involved. Right... Tony? TONY: She does have a valid point, Ziva. CASSIDY: And we don't even know what his cause of death is. I mean, for all we know he could have committed su1c1de. ZIVA: A su1c1de bmb who commits su1c1de before his bmb? I mean, (SHOUTS) that doesn't make any sense! TONY: No, it doesn't! But it does raise an interesting point. Imagine, if you will, ladies, an assisted su1c1de of a su1c1de bmb who suicided before his su1c1de bmb. It's kind of like how many chucks would a woodchuck chuck chuck if a woodchuck could chuck wood. GIBBS: Dinozzo! What the hell is wrong with you? TONY: I am just trying to lighten the mood of the room a little bit, Boss. GIBBS: I got a better way. Leave. And take her with you. ZIVA: That works for me. CASSIDY: That works for me, too, David. ZIVA: David. GIBBS: Re-evaluate the crime scene. Do not come back until you figure out how the guy she saw got out before the explsin! Are you getting soft on me, Officer David? ZIVA: Look, I know what she's going through. Sometimes you need to find something or someone to focus your anger on. It's your only relief. GIBBS: Of course, the drawback is, you know, that they tend to hate you for life. ZIVA: If it helps her get through it, I can live with that. MUSICAL BRIDGE TO: EXT. URBAN STREET - DAY CASSIDY: I don't know how you can work with her! TONY: Well, I worked with you, didn't I? CASSIDY: Funny. What do you think Gibbs would do if I slapped her? TONY: I'm more worried about what she'd do. You know, Mossad assassin and all. CASSIDY: You don't think I could take her? I took you, didn't I? TONY: Ah, technically you did put me down, but I distinctly remember the floor was slippery that day. CUT TO: INT. RETAIL STORE - DAY TONY: Okay, I'll do the left, you do the right. CASSIDY: Okay. TONY: Are you okay? CASSIDY: It's just so dusty in here. TONY: Paula, you don't have to do this. CASSIDY: We both know that I do. When did you start being so caring? TONY: I have always been caring. I come from a very caring family. The Dinozzos, in fact, are celebrated for their caringness. CASSIDY: Right. TONY: Maybe I wasn't as caring once as I am now. CASSIDY: What brought that on? Or should I say "who?" TONY: Well, you get older, you change. CASSIDY: What's her name? Please tell me it's not Ziva. TONY: It's not Ziva. CASSIDY: Good. TONY: Her name is Jeanne. CASSIDY: Do you love her? TONY: Yeah, I do, Paula. CASSIDY: Wow. You really mean that. What's the problem? TONY: (SIGHS) I can't tell her. CASSIDY: Why can't you tell her, Tony? It's just three simple little words: I love you. TONY: It's not so simple. We were on this climbing wall, and she made a little... bet. First one to the top gets to say "I love you." CASSIDY: You lost on purpose. TONY: No. I won. CASSIDY: And you didn't say it? You know, Tony, it's a cliché, but it is true. Life is too short not to tell someone you love them if you do. (bat) And you do. CUT TO: INT. ABBY'S LAB - DAY ABBY: The NCIS tip line received two calls on Sunday. If Yazeed didn't make them, one wonders who did. MCGEE: Whoever set up Cassidy's team, Abby. ABBY: Yeah. It's a rhetorical question, McGee. Just... just work with me here. The NCIS phone logs show that both calls came from the same disposable cell phone. GIBBS: Are you going to tell me who, Abby? ABBY: Well, no, but a third call was received by the tip line on Friday, two days before. It's an exact voice match to the calls that came in on Sunday. CALLER: (V.O./FILTERED) I must speak with an NCIS Special Agent. OPERATOR: (V.O./FILTERED) What is this regarding, Sir? CALLER: (V.O./FILTERED) About someone I work with, he is a... OPERATOR(V.O./FILTERED) He's what, Sir? CALLER: (V.O./FILTERED) I can't... I can't talk now. I'll call back. ABBY: This one we can trace. It was logged from a company in Annandale, Virginia. Kertek Computing. They make software for disabled people. MCGEE: That's where Yazeed works. ABBY: Worked, McGee. Before he got himself all blowned up. MCGEE: Boss, if we can get samples of their employees' voices, we can match it to our caller. GIBBS: That's good work, Abby. Not bad yourself, Elf Lord. CUT TO: INT. OFFICE - DAY SELOM: Yazeed is dad. You are sure of this? ZIVA: Very. SELOM: How did this happen? GIBBS: Cause of death is still being determined. SELOM: So you believe he was mrder? ZIVA: What makes you think that? SELOM: Three Federal agents in my office may have something to do with it. MCGEE: Mister Abu Selom, what did Yazeed do here at your company? SELOM: He was an instructor. He taught several courses on how to best utilize our software. GIBBS: We're going to need to speak to each one of your employees. MCGEE: As well as check out Yazeed's office and any computers he had access to. SELOM: Do you have a warrant? GIBBS: I can get one soon enough. SELOM: Maybe you won't need one if you just tell me why Yazeed is dad, Agent Gibbs. GIBBS: Did you watch the news lately? ZIVA: Yesterday, right around this time? SELOM: The policemen who were klled by the su1c1de bmb? MCGEE: They weren't police officers. They were NCIS Special Agents. GIBBS: That's us. ZIVA: Yazeed Fahad - he was the bmb. SELOM: Oh, no! No! (SIGHS) (bat) You can talk to whoever you like. CUT TO: INT. RETAIL SPACE - DAY TONY: Okay, let's try this a different way. How many seconds between our bad guy coming in here and the explsin, Paula? CASSIDY: Maybe ten, twelve seconds. TONY: Not a lot of time for our bad guy to get out of here before this place was turned into the klling Field. CASSIDY: It blew once my team closed the door. TONY: So where did he go? There's no back door. There's no side rooms. I mean, how does a dirtbag just vanish into thin air? CUT TO: INT. OFFICE - DAY (DOOR OPENS/ CLOSES) ZIVA: Gibbs is almost done with the interviews. What about you? MCGEE: Just finishing downloading all the folders Yazeed kept on the company servers. Any of them sound like the voice on the tip line? ZIVA: Not to my ears. But Gibbs is recording them. They don't seem very pleased with us. MCGEE: Gibbs tends to have that affect on people. CUT TO: INT. ABBY'S LAB - DAY (SFX: TAPED VOICES B.G.) ABBY: Sorry, guys. None of these voices match our caller. Are you sure this was every male employee? ZIVA: All but one, Abby. Yazeed Fahad. MCGEE: Who couldn't have made any calls because he was dad at the time. ABBY: We don't have a voice sample of his anyway. ZIVA: Yes, we do. This is one of his training DVDs. (PASSAGE OF TIME) ABBY: All right, are you guys ready to give this a sht? GIBBS: Thirty minutes ago, Abs. MCGEE: We had to compress the DVD audio to match the quality of the original phone calls to make an accurate-- GIBBS: Come on, McGee. Will you just do it? MCGEE: I'm doing it. ABBY: Okay, Yazeed's DVD audio is on the top and the caller's is on the bottom. We have eight key words from each sound track. MCGEE: And if Ducky was right about Yazeed's time of death... ABBY: This has been a whole lot of work for nothing. Okay... VOICE: (FILTERED) And ... meet... people... invisible... listen... close... suspect... back. MCGEE: That's an exact match. Yazeed made the phone calls. ZIVA: But how is that possible? ABBY: I never thought I'd say this, but Ducky was wrong. GIBBS: Yazeed was still alive when Cassidy's team walked into that building. (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY ZIVA: Evidence cannot tell you two completely contradictory things at the same time, McGee. MCGEE: No, it can't. Except when it does. ZIVA: It doesn't make any sense. SHEPARD: Or perhaps you need a fresh pair of eyes. What do you have so far? ZIVA: Yazeed Fahad, a former American sailor, called our tip line to warn of a pending trror1st attck. Yazeed said to meet here, a building with only one way of getting in and out. MCGEE: Agents Hall and Nelson followed him into the building. ZIVA: Both of them died seconds later when Yazeed activated his su1c1de vest. SHEPARD: According to Ducky, he had been dad for a day. MCGEE: How can that be? SHEPARD: Well, you can blow up a dad man, McGee. ZIVA: True, but Abby has proof Yazeed was talking to Cassidy seconds before the explsin. SHEPARD: Someone mimicking his voice? MCGEE: Audio forensics say it's an exact match. SHEPARD: And there's no other way out of the building? ZIVA: No. We covered every inch of it. MCGEE: He's like Schrodinger's cat. Alive and dad at the same time. Existing in a superposition. It's quantum physics theory. SHEPARD: When faced with a situation like this, the solution's obvious. GIBBS: Well, one of them is wrong. SHEPARD: I was going to use the term mistaken, but yes. MCGEE: So we have to choose between Abby and Ducky? ZIVA: I'd rather be McGee's cat. SHEPARD: So which one are you leaning toward? GIBBS: Neither. My money's on Dinozzo. MUSICAL BRIDGE TO: INT. RETAIL STORE - DAY CASSIDY: I let you down. But I give you my word, I'm going to get this bastard. TONY: Who are you talking to? CASSIDY: No one. Me. TONY: I've got the goodies. Cigar, paper towel, water, and a candy bar. That one's for you. CASSIDY: I'd rather have the cigar. TONY: Well, I need it. If there is a secret passageway in here, I'm finding it. CASSIDY: How are you going to do that? TONY: TONY: Saw it in this old monster movie. This guy was trying to find his girlfriend in an evil scientist's castle. Now don't move too much! Or talk. (CONT.) If there are any gaps in these walls, then the air pressure should suck some smoke through them. CASSIDY: Dinozzo, we've check this wall. It's solid brick. TONY: Did you ever hear of a secret passageway? CASSIDY: Well, this wall shares with the building next to it. How could there be a passageway? TONY: Okay, Paula, a secret door then. CASSIDY: All right, we're running out of daylight. I'm going to be in the car. TONY: Special Agent Cassidy, check this out. (TONY BLOWS SMOKE ONTO THE WALL) CASSIDY: Wow. I'm going to go get a pry bar from the trunk. I can't believe that. TONY: Believe it.(CASSIDY WALKS O.S.) (MUSIC OVER ACTION/TONY ATTEMPTS TO KNOCK OPEN THE DOOR) TONY: All right, Dinozzo. It's time to get serious. You're messing with a Buckeye. You want it? I'll bring it. I'm from Ohio. One, two... ah! (MUSIC OVER ACTION/TONY ATTEMPTS TO KNOCK OPEN THE BRICK DOOR) TONY: Ah... (SFX: WALL SLIDES OPEN) CASSIDY: I thought I'd just check it from this side. This thing is cool! Are you okay? TONY: It's an old college football injury. Wow. (SFX: DOOR SLIDES CLOSED QUICKLY) TONY: That did close kind of fast, didn't it? CASSIDY: Well, it wouldn't be much of a secret door if it stayed open long now, would it? Tony, look. The guy that I saw was wearing mirrored shades this shape. He probably dropped them hauling ass from the explsin. TONY: Congratulations. You did see him. That means you're not crazy. CASSIDY: Not yet at least. MUSICAL BRIDGE TO: INT. AUTOPSY LAB - DAY (SFX: DOORS SLIDE OPEN/ CLOSED) DUCKY: Ah, Mister Palmer. Did you manage to-- GIBBS: Did you want to see us, Duck? DUCKY: Did you pass Mister Palmer on your way down here? GIBBS: Nope. DUCKY: I swear, every time I turn my back these days, that young man is running off somewhere. GIBBS: Well, you should try smacking him in the back of the head. It did wonders for Dinozzo and McGee. DUCKY: Well, I did. Mister Palmer seemed to enjoy it. ZIVA: Ha ha. I'll remember that. DUCKY: DUCKY: I apologize for the delay in determining the exact cause of Yazeed's death, but the bmb didn't leave us much to work with. (CONT.) Thankfully his brain survived relatively unscathed. My first clue was the massive accumulation of lactic acid in its cells. This normally occurs when the brain is forced to obtain energy by anaerobic glycolysis. GIBBS: Yeah, naturally, Duck. DUCKY: I had a series of CAT scans done to confirm my suspicions. These dark areas show the most brain damage, all areas associated with rapid and sudden loss of oxygen. ZIVA: He was suffocated. DUCKY: Yes. GIBBS: Do you have enough left to tell me how? DUCKY: Oh, yes. Yazeed was suffocated with a silicone based substance that was forced into his mouth and nose, allowed to harden, and then removed. Whoever did it was probably trying to make a mask of his face. Abby says it's latex. ZIVA: Abby also says you're wrong. DUCKY: So I've heard. Only I'm afraid it's the other way around. This man was dad long before his bmb went off. I'd stake my career on it. MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY TONY: You guys miss me today, Abs? ABBY: Why? Where were you? TONY: Never mind. ABBY: Of course, I did, Tony! (SFX: TONY GROANS) ABBY: Sorry! Are you okay? TONY: Cassidy ht me. CASSIDY: If I'd punched him, Abby, he wouldn't be standing. TONY: (GASPS) Oh! ABBY: Never lie to a woman, Anthony DiNozzo. TONY: What do we got, McGeekle? MCGEE: Well, Ducky is still saying that Yazeed was dad when the bmb went off, and Abby is saying he was alive. TONY: What did Gibbs say? GIBBS: Where the hell you been, Dinozzo? TONY: Solving the mystery of the vanishing dirtbag, Boss. GIBBS: Yeah, well it took you long enough. CASSIDY: He found a secret passageway into the store next to it. It was actually quite impressive. TONY: It turns out both places were part of a magic joke shop that closed down about twenty years ago. ZIVA: So I was right. You didn't see Yazeed enter the building. CASSIDY: Thank you for pointing that out... Officer David. ZIVA: David! TONY: But now we know we're looking for another man, and we're hoping... praying... you can pull a print off that. ABBY: If there is a print, if there is a fiber, if there is a drop of dried sweat, I will find it. GIBBS: Not bad. TONY: Uh, Boss? I've got a question for you. That thing you said yesterday. We were really supposed to have the weekend duty Cassidy's team took? GIBBS: Yep. TONY: How did we get out of that? GIBBS: I asked.(ELEVATOR DINGS/ DOORS OPEN) TONY: So that really could have been us. GIBBS: It could have been us every single damn day of the week. Sometimes it has been. You want to worry about something, worry about tomorrow. (ELEVATOR DINGS/ DOORS SLIDE CLOSED) MUSICAL BRIDGE TO: INT. BASEMENT - DAY MANN: Going off to wr, gn? GIBBS: Are you trying to get rid of me? MANN: I haven't decided yet. GIBBS: Well, while you're thinking about it, why don't we pound down some of that chow? MANN: Spoken like a true Marine. I heard what happened. Maybe I can help -- GIBBS: You have chopsticks? MANN: Anything else? GIBBS: Soy sauce. MANN: You're not going to talk about it, are you? GIBBS: Nope. MANN: Got it. (MANN UNPACKS FOOD/LAUGHS) GIBBS: I had a very good time at the batting cage. MANN: Yeah, it was fun. GIBBS: We should do that again sometime. MANN: Yeah, we should. Too bad our schedules are polar opposite. Must be a CID/NCIS thing. GIBBS: Well, somebody's got to keep the wolf away from the door. MANN: That's why I've been thinking. I'm coming up on my twenty year mark next month. GIBBS: Congratulations. MANN: Yeah. GIBBS: You're right in the zone for full-bird Colonel. MANN: I'm thinking about retiring, Jethro. Settling down, you know, making some time for the people in my life. So what do you think? CUT TO: INT. SQUAD ROOM - DAY ABBY: Where's Gibbs? CASSIDY: We found him! MCGEE: Who? CASSIDY: That dirtbag who took my team into that slaughterhouse. ABBY: Gibbs! Gibbs! Gibbs! Gibbs! Gibbs! We got a fingerprint match off the piece of mirrored sunglass lens that Cassidy and Tony found. ZIVA: Salmar Umar. We interviewed him yesterday at Kertek Computing. ABBY: I've got two fulls, a right index, and a forefinger, and I've got a partial on the left thumb. I've also got his home address, and a couple of his uncles that lived in... (ELEVATOR DINGS/ DOORS OPEN) ABBY: .... be safe!(SFX: DOORS SLIDE CLOSED) GIBBS: (V.O.) Low and slow... CUT TO: INT. OFFICE - DAY GIBBS: ... McGee. Take the rear exit. And don't spook him. We take him alive. Find out if he's working with anybody else. I don't get an answer from you, Cassidy, I'll take your wapon from you right now. CASSIDY: (OVERLAP) Alive! Alive! I've got it. I've got it. SELOM: Oh, Special Agent Gibbs. Has there been some development? GIBBS: I need to ask your employees a few more questions. SELOM: You already cost me a full day's work yesterday. (MUSIC UP) GIBBS: Damn it! (SHOUTS) NCIS!! Everybody get down! ZIVA: (SHOUTS) On the floor! Now! (MUSIC OVER gn) (SFX: gn B.G.) (MUSIC UP AND OUT) MUSIC IN: INT. OFFICE - DAY ZIVA: We had no choice, Gibbs. If we had not acted, he would have sht someone. GIBBS: We had a choice. I could have left her back at NCIS. He was carrying this. I want to know why. MCGEE: Yep. GIBBS: It's Arabic. Read it. ZIVA: A covenant from Mecca, sponsored by the Muslim Coalition for Peace. The flyer for the conference on Friday. Do you think he was planning on attending? SELOM: I doubt that, Officer David. Umar was quite vocal about his feeling toward Shiites. He used to argue quite a bit with Yazeed on how they were destroying Iraq. GIBBS: Well, that would have been nice to have known that yesterday. SELOM: People have a right to their own opinions, Agent Gibbs. His were usually ignorant and colored by his own prejudice. Still, I can't believe that he'd... GIBBS: He would kll over them?! VOICE: (ON TAPE) Apple... toast... bicycle... MCGEE: Boss, you should see this. VOICE: (ON TAPE) Big... giraffe... Yankee... white... Holland... MCGEE: This is Umar's. It sounds a lot like Yazeed Fahad's voice. GIBBS: Turn it up. YAHEED: (ON TAPE) Holland... black... display... results... oriented... finger... fish... CASSIDY: (OVERLAP) What the hell kind of program is that, McGee? SELOM: V.S. Twelve. It's still in development. It's a vocal simulation. It allows disabled people who can't talk to converse in a natural-sounding voice. MCGEE: It's like Stephen Hawking. You type and the computer says the words. SELOM: Yes, but ours uses a three-D model of the vocal chords to resonate cavities in the head creating a lifelike sound. Umar was our main programmer. ZIVA: Would explain how Yazeed was making phone calls from the dad, right? SELOM: But I don't see how he could have done it. It would have required a CAT scan of Yazeed's throat and mouth. MUSICAL BRIDGE TO: INT. ABBY'S LAB - DAY ABBY: For a trror1st whack job, Umar is an amazing programmer. Amazing enough to fool me! This recreates Yazeed's voice flawlessly. YAZEED'S VOICE: Now you know why you found traces of latex in my throat and mouth, Abby. ABBY: Why, yes. I do, Yazeed. YAZEED'S VOICE: What about you, Tony? And I like your shirt, by the way. It's sexy. TONY: Thanks. It's from the George Peppard collection. I... Abby. YAZEED'S VOICE: Abby. ABBY: Sorry. MCGEE: Umar didn't need a CAT scan for Yazeed. He poured hot latex down his throat and cast a mold. YAZEED'S VOICE: Ewww. MCGEE: All he had to do was laser-scan it into his computer, input the results into the program. ABBY: Mystery solved. TONY: Umar was who you heard type-talking on the phone, Paula. CASSIDY: The guy that I saw was not carrying a laptop and typing. I would have definitely noticed that. GIBBS: Means he wasn't working alone. YAZEED'S VOICE: Hey, Gibbs. Why no Caf-POW? I'll shut up now. GIBBS: Your team was set up, but they weren't the target. ZIVA: Yazeed was. They were trying to stop his Sunni-Shia peace conference. CASSIDY: By turning him into a su1c1de bmb? TONY: It almost worked, Paula. ZIVA: But luckily for us, Yazeed lost his head... literally. CASSIDY: Well, we don't know that it didn't work. At this point, who's going to show up to this thing? GIBBS: Oh, you'd be surprised, Cassidy. ZIVA: We're not the only ones who refuse to bow down to terrorism. MCGEE: They're going ahead with the conference anyway? ZIVA: Now that we've cleared Yazeed. ABBY: But we only got one of them. What if somebody else tries to stop it? ZIVA: We kll them, Abby. TONY: We catch them. That's the preferred term. CASSIDY: I like hers better. MUSICAL BRIDGE TO: INT. SHEPARD'S OFFICE SHEPARD: If they're still any holdouts, I will personally call and offer reassurances that Yazeed Fahad was the victim of a trror1st bmb and not the perpetrator.(DOOR CLOSES) JAMAL: I'm sure the reassurance from you will encourage people to attend, Director. WALID: This incident has only strengthened our resolve. GIBBS: And made your peace conference a major target. WALID: All the more reason for us not to back down, Agent Gibbs. GIBBS: That's why we're going to help. SHEPARD: I have contacted the F.B.I., and Metro Police, and they've agreed to increase security at your conference. I will also be assigning agents for protection of the senior clerics that will be attending the event. WALID: Bodyguards? GIBBS: Where they go, we go. WALID: Yazeed always spoke highly of his time in your Navy. Now I can see why. JAMAL: We are in your debt. SHEPARD: If your event lessens or ends the insurgency in Iraq, it is us who are in your debt, gentlemen. JAMAL: Thank you for your support, Director. WALID: Thank you. CUT TO: INT. SQUAD ROOM - DAY ZIVA: Sheik Abu Talid Yusef, the senior Sunni Cleric in attendance. He's yours for the day, Tony. Sheik Ali Bashir, the senior Shia cleric is Cassidy's. And...the most senior cleric at the conference is Imam Abdul Al-Maliki... GIBBS: He's mine. Ziva floats between all three, depending on the situation. ZIVA: The quickest way to stop the conference is to target one of these men. GIBBS: Well, we're not going to let that happen. MCGEE: Boss, what about me? GIBBS: Yeah, right. I almost forgot. Names of everyone attending. Run them down. Look for any links to trror1st groups. MCGEE: Um... there looks to be over three hundred names here and the conference starts in less than six hours. GIBBS: Yeah, well? Why are you still standing there, McGee? MCGEE: Right. ZIVA: We pick them up at their hotels one hour before? GIBBS: No. A little change in plans. We pick them up now for a field trip. They want to hold a ceremony for Yazeed and Cassidy's team. CASSIDY: What kind of ceremony? GIBBS: Memorial. TONY: Where? GIBBS: Where they died. MUSICAL BRIDGE TO: EXT. STREET - DAY (SFX: CAR DRIVES PAST) CUT TO: INT. RETAIL SPACE - DAY CASSIDY: Well, I've never been much for praying. But after this I'm... TONY: Hall and Nelson were good men. CASSIDY: They were the best. (SIGHS) I could have saved them. TONY: Paula, that's not true. CASSIDY: I could have turned down the weekend duty, Tony. There's just no way we should have had it two weeks in a row. TONY: It was supposed to be us. CASSIDY: Us what? TONY: It was our team that was supposed to take it. CASSIDY: (SIGHS) Oh. I mean, it doesn't matter. Nothing does. I was supposed to be in here. I know it. But... here I am. (SFX: WALL SLIDES OPEN) ZIVA: Ha! Very clever. This side is clear! (SFX: WALLS SLIDES SHUT) CASSIDY: I didn't think anything could make you jump, Officer David. ZIVA: That was merely a reflex. CASSIDY: In America, we call that jumping. ZIVA: In Mossad, we call that the difference between life and death. CASSIDY: I'm just ... I'm going to let Gibbs know that we're clear over there. (CASSIDY WALKS O.S.) ZIVA: Is something wrong? TONY: That was supposed to be us. ZIVA: But it wasn't. TONY: No, not this time. CUT TO: INT. ABBY'S LAB - DAY MCGEE: Abs, you wanted to see me? ABBY: I really need your help with this, McGee. MCGEE: Gibbs has me running down the names of over three hundred people attending a conference in-- ABBY: Now, McGee! Okay, we know that whoever was helping Umar was using that computer to recreate Yazeed's voice. MCGEE: I know. I'm the one who found the program. ABBY: So his fingerprints could be on this keyboard. But the problem is, so are everybody else's. Whoever typed on this thing... and they're all... they're all mashed on top of each other. Look! MCGEE: So you're hand tracing them? ABBY: I'm isolating the "J" and the "F" key because that's where you would park your fingers when you're waiting to type. MCGEE: Okay, what do you need me to do? ABBY: I just... I need you to look at this. I need you to check my work because I'm getting dizzy from starring at it for so long. MCGEE: Okay. CUT TO: INT. RETAIL SPACE - DAY TONY: Just how long is this supposed to take, Boss? GIBBS: Longer than if you helped them set up, Dinozzo. When this thing starts, I want you out front, Ziva. CASSIDY: What about me? GIBBS: I didn't bring you here for security. CASSIDY: Look, I know I screwed up at Kertek Computers. GIBBS: Then say a prayer for your team, Cassidy. We'll take the heavy lifting on this one. CUT TO: INT. ABBY'S LAB - DAY MCGEE: Purple one's definitely Umar. The other two are less defined. Probably going to take a while for... (SFX: COMPUTER BEEP TONES) ABBY: You were saying, McGee? MCGEE: How did you get three potential matches so fast? ABBY: Because these fingerprints were taken from the first crime scene. Looks like it was someone who was helping Yazeed paint the place. MUSICAL BRIDGE TO: INT. RETAIL SPACE - DAY WALID: This was Yazeed's dream, to show the world that these trror1st groups do not speak for us. We thank you for making it a reality. (SFX: CELL PHONE RINGS) TONY: Well, at least something good is going to come from all of this. GIBBS: (INTO PHONE) Yeah, Gibbs. MCGEE: (V.O./FILTERED) Boss, either Abdul or Jamal is a match. GIBBS: Hands on top of your head! TONY: Boss? GIBBS: It's one of them, Dinozzo. The prints found on Umar's laptop match the painting gear. WALID: What laptop? GIBBS: Where's Jamal Malik? WALID: He was here a minute ago! GIBBS: (INTO RADIO) Ziva! It's Malik! Find him!(SFX: DOOR SLIDES OPEN) TONY: Behind you! (MUSIC OVER SLOW MOTION ACTION) (CASSIDY RUSHES TOWARD MALIK) TONY: (SHOUTS) Paula!! JAMAL: (SHOUTS IN ARABIC) Allahu Akkbar! (SFX: HUGE b*mb BLAST SHATTERS THE ROOM) (SFX: TONY HITS HIS HEAD AGAINST THE WALL) MUSICAL BRIDGE TO: INT. HALLWAY - NIGHT (SFX: MUSIC B.G.) (KNOCK ON DOOR) (DOOR OPENS) TONY: I love you, Jeanne. (MUSIC OVER ACTION/TONY HUGS/KISSES JEANNE) (MUSIC UP AND OUT) (MUSIC UP OVER ENDING CREDITS AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x19 - Grace Period"}	foreverdreaming
MUSIC IN: EXT. STREET - DAY (SFX: SIRENS B.G.) RICK: Let's move! Let's go! Get those BAs up. Pull a cord and a half! Let's get ready to roll! Davis, get those utilities turned off, quickly! Move it! DAVIS: (MUFFLED) I'm on it, Sir! RICK: (V.O./MUFFLED) We're in front. You start in back! fre FIGHTER: (V.O./MUFFLED) Come on, Scotty. You're with me. Let's move. (KNOCK ON DOOR) RICK: (SHOUTS) fre department! Let's go. (SFX: DOOR BURSTS OPEN) CUT TO: INT. HOUSE - DAY (SFX: FLAMES B.G.) (SFX: SMOKE ALARM BEEPING B.G.) RICK: (V.O./MUFFLED) You two spread out. Clear the bedrooms! I'll take the kitchen! FIREFIGHTER: (V.O.) We'll cover these down here!(SFX: FIREFIGHTERS VOICES B.G.) (SFX: RICK BREATHES HEAVILY B.G.) CUT TO: INT. KITCHEN - DAY RICK: (V.O./MUFFLED) Every damn time. False alarm, fellas. Just another overcooked bird. Or something. (ON CAMERA) Tough to tell after six hours in the - oh dear. (MUSIC UP AND OUT) (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT) MUSIC IN: INT. COFFEE HOUSE - DAY "COVER STORY" (SFX: ESPRESSO COFFEE MACHINE B.G.) LANDON: Double Americano for Thom. (bat) Aren't you Thom? MCGEE: Yes, thank you. Sorry. LANDON: You must need that badly. Don't even recognize your own name. Medium mocha coming up. MCGEE: It's my other name. LANDON: Two names, huh? MCGEE: Well, two jobs. It's Thom when I'm writing. Not that I've actually written anything in weeks. LANDON: Writer's block? MCGEE: Creative stifling. I am crumbling under the pressure of expectations. LANDON: Oh, you're Thom E. Gemcity! Your photo's on the back cover! I loved Deep Six. MCGEE: Thanks... Landon. Thank you. LANDON: Can't wait to see what happens next. MCGEE: You and me both. Two weeks until my deadline. I'm stuck here in chapter seven. LANDON: Well, it could be worse. MCGEE: How's that? LANDON: It could be chapter six. Okay, we've got a half caf percent latte and a medium double decaf for Whitney.(SFX: CELL PHONE RINGS) MCGEE: (INTO PHONE) McGee. Yeah. (TO LANDON) The other job. LANDON: Good luck. CUT TO: INT. HOUSE - DAY TONY: Ferris Bueller's Day Off, a John Hughes masterpiece. Now there's a guy that didn't have time for writer's block, Probie. Sixteen Candles, Uncle Buck, The Breakfast Club. MCGEE: I do not have... I'm just struggling to find out the most efficient way to tell my next story. TONY: Now, do you think Hughes writes on a computer or does he use an old-fashioned typewriter, like you? MCGEE: Well, I'm sure he uses a computer, Tony. Most writers do. TONY: Did you ever consider converting? MCGEE: I don't think that's the reason for my ... TONY: Were you going to say... writer's block? MCGEE: I like my typewriter. TONY: But it doesn't like you. It's a classic tale of unrequited love between a boy and his machine. You can use that if you want. But remember, you've got to have a love story. I can see the poster already. CUT TO: INT. KITCHEN - DAY (SFX: CUPBOARD DOOR OPENS) ZIVA: The house is leased to Petty Officer Darren Cove. No roommates, but according to the neighbors, he is rarely alone. (DOOR CLOSES) GIBBS: I can tell. He's got a fridge full of beer. No hard alcohol. ZIVA: Except for this. Ooh! If smells could kll, I think we just found our mrder wapon. GIBBS: I'm more concerned with where they came from. ZIVA: Neighbors said this was a notorious party house. Maybe someone brought in the mixers. GIBBS: And they left with them, too. ZIVA: Seems like a lot of effort for a couple of drinks. Wasted effort. CUT TO: INT. LIVING ROOM - DAY MCGEE: (V.O.) The blood starts at the ping-pong table. TONY: Beer pong. MCGEE: Huh? TONY: This is tragic. Don't tell me you've never played beer pong before, Probie? What did you do at MIT? MCGEE: Studied. TONY: That figures. Well, beer pong is a drinking game, the object of which is to take the ping pong ball and try to get it into the other team's cups. MCGEE: (bat) Show me how it's done. TONY: This is a crime scene, not a frat house. You hearing voices, Probie? MCGEE: I figured you saw Gibbs coming. TONY: I just don't think this is the time or the place to showcase my beer pong skills. (bat) What? MCGEE: It seems out of character. TONY: (LAUGHS) Yeah. Yeah. No, you may not use me to get over your writer's block. ZIVA: McGee has writer's block? MCGEE: No, McGee does not. ZIVA: Just do what you did last time. Write about us. MCGEE: Okay, I've told you guys a million times. The book is not about you. TONY: No, of course not. It's about Special Agent Tommy. ZIVA: And Officer Lisa. GIBBS: (V.O.) Dinozzo. TONY: And L.J. Tibbs. MUSICAL BRIDGE TO: INT. BEDROOM - DAY GIBBS: Get this. TONY: Looks like McGee wasn't the only writer here today GIBBS: Bag it. NOTE: ONE DOWN, TWO TO GO MUSICAL BRIDGE TO: INT. SQUAD ROOM - DAY MCGEE: Petty Officer Cove joined the Navy three years ago, right out of high school. His C.O. says he's a little immature, but basically a good kid. TONY: A good kid with a criminal record. Since enlisting, he's been arrested twice. Both misdemeanors. Public intox in oh-four, and a noise ordinance violation last July. MCGEE: He works to live, and lives to party. It's his C.O.'s words. TONY: Guys in his Command call him Darren "Diddy" Cove. GIBBS: Why? MCGEE: Uh, it's a reference to Sean "Diddy" Combs. TONY: The Puff Man. P-Diddy. Rap impresario. Went out with J-Lo. Petty Officer Cove was on duty yesterday. MCGEE: Left the base at eighteen hundred. Hasn't been seen since. TONY: And neither has his blue Ford Ranger. It should be in his garage, but it's not. MCGEE: Which means his attacker took it. GIBBS: Or Petty Officer Cove went for a drive. MCGEE: Well, with that amount of blood loss, it's doubtful he was conscious. GIBBS: If it was all his blood. TONY: Well, Abby'll tell us, because Cove's blood sample is in his medical records. ZIVA: (V.O.) Thank you. MCGEE: I'm going to go check the BOLO, see if he's got a ht on the pickup. ZIVA: That's not necessary, McGee. Norfolk Police just found it abandoned along Highway Five. MUSICAL BRIDGE TO: EXT. RAVINE - DAY ZIVA: I've noticed oversized dice like these in numerous vehicles. Do they serve a purpose? Hello? Tony? TONY: What? ZIVA: Do they serve a purpose? TONY: Fuzzy dice? Pretty good redneck indicator. Other than that, no. They don't serve a purpose. We've got a lot more blood back here, Boss. Think this was used to cover the body? GIBBS: Yeah. Or bodies. (SFX: CELL PHONE RINGS) GIBBS: (INTO PHONE) Yeah, Abs. I'm listening.(GIBBS WALKS O.S.) ZIVA: (LONG bat) McGee, you look like you've seen a goat. MCGEE: Huh? Oh, ghost. Seen a ghost. Yeah, do you know what déja vu is? ZIVA: Bien sur. My French is better than my English. MCGEE: Right. ZIVA: So? MCGEE: What? ZIVA: The déja vu? MCGEE: I can't place it. ZIVA: (LONG bat) By any chance, did you start dating someone, McGee? MCGEE: Dating? Please. I spend every spare minute I have writing. GIBBS: Hang on a second. McGee, get this towed back to lock-up. (INTO PHONE) Yeah. Go on, Abs. TONY: Abby's got something. CUT TO: INT. ABBY'S LAB - NIGHT TONY: Watch out! It's Halloween at Coyote Ugly. Piper Perabo! ABBY: Oh, if you liked that one you're going to love this. It's... it's a Sciuto original. I like to call it "Bottoms Up." ZIVA: Oh! I had no idea you were a bartender, Abby. ABBY: Well, my Uncle Teddy used to own a bar on Canal Street. And I used to bartend on the weekends. GIBBS: The case, Abby. ABBY: Gibbs, you haven't even seen my famous "fre bmb!" It can wait. So I tested the blood that was in Petty Officer Cove's house. Most of it was his, but one sample did not match. ZIVA: It could have been from a prior accident or an altercation at one of his parties. TONY: Or it could be the kller's. ABBY: I also removed prints from our mystery cocktails. One half of our drinking duo was definitely Petty Officer Cove. GIBBS: The other half? ABBY: Well, it's a work in progress, Gibbs. GIBBS: Tell me you have more to this, Abby. ABBY: Have I ever let you down? Don't answer that. Um, I'm using my mass spectrometer to break down the molecular structure of the cocktails in question. TONY: Guessing that's where all these come in. ABBY: Well, you guess correctly. I think I've made over one hundred delightful beverages trying to find... the match. The weird thing is, this baby isn't in any bartending guide, anywhere. It's made out of Jagermeister... MCGEE: Cherry soda, vanilla vodka, lemon juice, and a plash of Tabasco. It's called a "Hairy Hangover." TONY: And you came to know this how, McGee? MCGEE: I created it. Our missing Petty Officer is a character in my next book. (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY MCGEE: (READING) "Cameron Meyer is a good old boy from Northern Virginia. He was born with not much, raised with even less. All he wants out of life is a good girl and a great truck. As of yesterday, he's halfway there. He dropped his life savings on a blue Ford Ranger." TONY: That's it? MCGEE: Tony, it's all here. The fuzzy dice, the cinnamon rolls, red track jacket. Petty Officer Cove is Cameron Meyer. ZIVA: Uh, but how is that possible, McGee? MCGEE: My writing isn't entirely fiction, okay? My stories are...sometimes I base my characters on people I... TONY: Work with? MCGEE: See. People I see. GIBBS: You've seen Petty Officer Cove before? MCGEE: Every morning at my coffee shop. ZIVA: But how come you didn't recognize his photograph? MCGEE: He only uses the drive-thru. To me he's just the "large coffee, with the cinnamon roll" guy in a blue pickup truck. I never saw his face. TONY: Whoa, whoa, whoa. Wait a minute. Back up. Your coffee shop has a drive-thru? That's... that's not important. ZIVA: Just because you based your character on a person who is missing does not necessarily mean the two of them are related, McGee. GIBBS: Yeah, it does. You created the drink. MCGEE: Made it up about a month ago. GIBBS: How did two glasses of it get from your head to inside Petty Officer Cove's house? TONY: Someone's read your book. GIBBS: Are your papers under lock and key? MCGEE: Well, I sent my publisher a copy a couple weeks ago, but, you know, I'm sure she... GIBBS: Address. MCGEE: (bat) Um...Boss, there's more. After Deep Six ht stores, my publishing firm received a ton of emails addressed to Thom E. Gemcity. TONY: Tons? MCGEE: Most of them were autograph requests, or feedback on the novel. But in the last couple weeks, my publisher says that we've gotten some really weird letters. Borderline obsessive. I didn't say anything because I assumed they were harmless. GIBBS: Dinozzo, with me. McGee, you stay here with Ziva. Start going through your book. MCGEE: What exactly am I looking for? GIBBS: Answers, McGee! MUSICAL BRIDGE TO: INT. CRAWSHAW'S OFFICE - DAY RYDER: Miss Crawshaw will be with you shortly. TONY: Oh, you've got to be kidding me! RYDER: Is there anything else I can get you while you wait? TONY: Yeah. A barf bag. RYDER: I'm sorry? CRAWSHAW: Todd, black tea, lemon, crab salad, arugula. (TO GIBBS) You're Timothy's people. GIBBS: A few weeks ago, he sent you a draft of his next book. CRAWSHAW: Partial. It wasn't finished yet. TONY: Yeah, it still isn't, is it? GIBBS: How many of your people here have read the book? CRAWSHAW: Zero. No one in my agency has access to advance material without the writer's consent. GIBBS: Except you. CRAWSHAW: Writers are notoriously insecure. Soft, even. TONY: Well, that doesn't sound like our little Timmy McGee, now, does it? CRAWSHAW: Whether they ask for it or not, I provide coddling, prodding, protection. Anything it takes to keep those elusive muses singing.... Agent... GIBBS: Gibbs. CRAWSHAW: Here you go. Rock Hollow; The Continuing Adventures of L.J. Tibbs. How's this connected with your investigation? TONY: A person's missing. We believe it's related to the contents of that book. CRAWSHAW: Oh, I guess I just made myself your prime suspect. GIBBS: Sounds about right. CRAWSHAW: I may be the only one in the firm who's read it, Agent Gibbs, but I can guarantee you I'm not the only one in the city. TONY: McGee hasn't given the book to anyone else, Ms. Crawshaw. CRAWSHAW: Obsessed fans always find a way to get material early. They dig through trash, hack computers, anything short of writing it themselves. And believe me, Timothy has some of the craziest fans I've ever seen. GIBBS: Yeah, we know about the letters. CRAWSHAW: Yeah, there are three that stand out. Todd! Bring me those three... RYDER: Gemcity letters? CRAWSHAW: No return addresses. Each one's stranger than the last. I bet the psychopath you're looking for is somewhere in that envelope. TONY: What makes you think we're looking for a psychopath? CRAWSHAW: Don't you read crime novels? They are always psychopaths. CUT TO: INT. AUTOPSY LAB - DAY DUCKY: (READING) "I am sending this letter to express my gratitude for the literary gift you've given me. The majesty of your writing is far beyond anything this planet has ever seen." (SFX: DOORS SLIDE OPEN) GIBBS: A rave review. DUCKY: Rave indeed, Jethro. Yeah. In fact, it's quite possible that Michael is Timothy's greatest admirer. GIBBS: Admirer or stalker, Duck? DUCKY: At this point I'd say he is no immediate thrat to himself or anyone else. GIBBS: At this point? DUCKY: Well, one does not become a predatory stalker overnight, Jethro. The mind typically goes through three stages. This letter, strange as it may seem, is only at stage one. The attraction stage. GIBBS: And the other two? DUCKY: Well, on the surface, this letter written by Andrew, would appear more normal. But phrases like "I breathe for your words," and "you need me," might suggest... GIBBS: .... otherwise. DUCKY: But because of that sense of desperation, I'd categorize that letter as stage two; obsession. GIBBS: What's stage three? DUCKY: Well, read for yourself. GIBBS: (READS) "I know you think of me often, just as I think of you. Please don't make me do something we'll both regret." DUCKY: Now that letter has an aggressive and thrat tone. For that reason, it falls into the final stage; destruction. GIBBS: Three letters. Three stages. DUCKY: I know what you're thinking, Jethro. That it's no coincidence. Although the letters may appear to be very different, the writing style is nearly identical in all three. GIBBS: The same person wrote all three? DUCKY: And judging by the postmarks, the letters were written and sent over a period of several weeks, during which time the writer became increasingly delusional. GIBBS: Motive? DUCKY: Oh, I can't say for certain. But I say the answers can be found in Timothy's new book. The writer believes that Timothy's fiction is very much real. MUSICAL BRIDGE TO: INT. SQUAD ROOM - NIGHT (MUSIC OVER ACTION/TONY AND ZIVA READ THE SCRIPT) MCGEE: Tony, about.... TONY: (PAUSE) Done. MCGEE: So? TONY: I'm confused. MCGEE: This isn't a critique, okay? We're trying to find something useful - confused by what? TONY: The plot, the back story. Pretty much everything. The whole thing doesn't make sense. MCGEE: Ziva, what about you? ZIVA: Um... not as confused as Tony. MCGEE: Well, I haven't finished it yet. It's just a rough draft. ZIVA: Very rough. I'm sorry, McGee. TONY: Who's the kller anyway? MCGEE: I don't know yet. TONY: There's your problem. I mean, you always have to know where your story is going. That's fiction writing one-oh-one. MCGEE: Not the way I choose to write, Tony. TONY: And he wonders why he has writer's block. MCGEE: Can we focus on the problem here? We've got a missing person, and our only lead is my book. ZIVA: Well, that's not much of a lead. TONY: She's right. We don't even know how the book factors in. GIBBS: (V.O.) We do now! (ON CAMERA) The letters were written by the same person. He thinks the book is real. ZIVA: And believes Petty Officer Cove is a part of it. GIBBS: It means we're going to have to go everywhere he's been. MCGEE: Well, we've already done that, though. His home, work, hangout spots. GIBBS: I'm not talking about Petty Officer Cove. I'm talking about your good-old-boy with the pickup truck, Cameron Meyer. MUSICAL BRIDGE TO: EXT. HIGHSIDE CREEK - DAY ZIVA: High side Creek is where Cameron goes to clear his head. MCGEE: Well, thematically, this location is very important, Boss. TONY: You've been saying the same thing all morning, McGee. GIBBS: Spread out. TONY: Why would Cameron come to a picnic area to think? ZIVA: In his book it's not a picnic area, it's his favorite fishing hole. MCGEE: Thank you, Ziva. TONY: Don't you think it's kind of a cliché to have your character alone, staring into the serene wilderness? MCGEE: No. If it was, I wouldn't have written it, Tony. TONY: I mean, knowing Cameron, if he was bummed out, wouldn't he just go to the Wing Shack with some buddies and toss back a few brews? ZIVA: Or talk to a priest? Don't forget that he's very religious now that his father died. TONY: Good point! MCGEE: No, it isn't. Cameron keeps his emotions bottled up. When he's upset, he comes here. Afterwards, he always feels better. GIBBS: Not always. MCGEE: (PAUSE) That's him. That's Petty Officer Cove. ZIVA: Then who is this?! MCGEE: (LONG bat) That's Jerrod Brenner. That's another character from my book. (MUSIC OUT) MUSIC IN: EXT. HIGHSIDE CREEK - DAY DUCKY: Two bodies, both with nearly identical sab wounds in the chest and abdomen. It appears that Petty Officer Cove may have put up a bit of a struggle. Note the remnants of skin tissue and blood under the fingernails. Now, both men have been deceased for less than twenty-four hours. ZIVA: That is not all they have in common, Ducky. TONY: They're also both characters in McGeek's next book. DUCKY: Yes, from what I hear, Timothy, in your next novel, L.J. Tibbs has a love interest. Yes, I hear that it's an Army... MCGEE: Ducky, I don't think we need to talk about that... GIBBS: Army what, McGee? MCGEE: Uh...Lieutenant... Colonel.... Lieutenant Colonel... GIBBS: We got a mrder wapon, Duck? DUCKY: Yes, well that's where things get interesting, Jethro. Both wounds are circular, about one inch in diameter. TONY AND ZIVA: (IN UNISON) Javelin. MCGEE: Chapter Four, my characters Cameron Meyer and Jared Brenner - they mrder a convenience store clerk to cover up an extortion. TONY: Javelin. Believe it or not. DUCKY: DUCKY: That is for what they were originally intended, Anthony. A javelin is a modern day mrder wapon. I applaud your creativity, McGee. Of course, well, given the circumstances... oh, dear. (CONT.) Now I'm going to have to read his new book. CUT TO: INT. SQUAD ROOM - DAY TONY: Petty Officer Darren Cove and Adrian Corbette - the inspiration behind two of McGee's characters, Cameron Meyer and Jerrod Brenner. GIBBS: Any other connection? MCGEE: Not that we've found. Corbett worked as a valet at Alfonso's Steakhouse. TONY: Your favorite. MCGEE: That's how I got to know him. For my book, I borrowed his physical details - the nose ring, birthmark on the face and the neck. GIBBS: Where's his job? MCGEE: Valet at a steakhouse. But I did change the name of the restaurant. TONY: From Alphonso's to Alfredo's. You don't need to be Sherlock Holmes to figure that one out. GIBBS: The note from Petty Officer Cove's apartment. TONY: "One down, two to go," means the kller's not finished. GIBBS: How many more of your characters did you base on real people? (bat) Hey! How many? MCGEE: Just the team. You, Tony, Ziva, everyone. Are you happy, Tony? I finally admitted it. I based both my novels on your guys. GIBBS: That means we're all potential targets. MCGEE: Boss, I'm sorry! GIBBS: Ducky, Abby, Palmer... twenty-four hour security detail until we find this psycho. ZIVA: Twenty-seven javelins sold in the D.C. area in the past six months. Twenty-one were paid for by credit cards. All by track coaches and athletic directors. GIBBS: What about the last six? ZIVA: Cash transactions. (SFX: CELL PHONE RINGS) GIBBS: Yeah, Gibbs. ABBY: (V.O./FILTERED) I've got something for you, Gibbs. GIBBS: (INTO PHONE) I got it, Abs. We'll be right down. (TO TONY) Go! Go! (TO MCGEE) Not you. MCGEE: Two men are dad because of me, Boss. GIBBS: You got a javelin, McGee? MCGEE: No, but I own a typewriter. GIBBS: It's a typewriter. Not a gn. MCGEE: It caused two men their lives because I based my fictional book on real people. GIBBS: Then put these on. (SFX: HANDCUFFS CLATTER TO THE TABLE) GIBBS: You just confessed, right? MCGEE: Not exactly. GIBBS: There's no mid-ground, McGee. You either put on the cuffs, or you find who's responsible. MCGEE: How? GIBBS: This guy's inside your head. You get inside his. MCGEE: Boss, it's not that simple. I still don't even know what my story is! GIBBS: You figure it out, McGee! You write the ending to this, or the kller will! MUSICAL BRIDGE TO: INT. ELEVATOR - NIGHT ZIVA: Well, McGee feels bad enough.(ELEVATOR DINGS/ DOORS OPEN/ CLOSE) TONY: Only makes it worse that he admitted it.(SFX: ELEVATOR DINGS/ DOORS SLIDE SHUT) ZIVA: It was no secret he was writing about us. TONY: Oh, come on. It's not about us. I mean, the whole part about Lisa and her broken heart? ZIVA: The memento she keeps from a relationship that never had a chance to happen? TONY: Yeah. Where's he getting that? Or the scene between Lisa and Tommy where they pour out their hearts to each other and spill their secrets? ZIVA: (CHUCKLES) When he tries to explain the profound nature of his identity crisis? TONY: Yeah. I mean, the hidden struggle between who he is and what he's becoming. I don't even know what that is. ZIVA: Yeah, totally unrealistic. TONY: Would never happen.(SFX: ELEVATOR DINGS/ DOORS OPEN/ CLOSE) CUT TO: INT. ABBY'S LAB - DAY (ELEVATOR DINGS/ DOORS SLIDE OPEN) TONY: What do you got, Abs? ABBY: Three hours sleep. My apartment flooded last night. Did you know that trying to flush voodoo dolls down the toilet is a bad idea? TONY: I do now. ABBY: Where's Gibbs? ZIVA: He's chomping out McGee. TONY: Chewing. ABBY: So a little birdie told me that both of you have read the first half of McGee's new book. TONY: A little birdie, huh? ABBY: And don't even ask, because I will not reveal my source even if you trture me. ZIVA: Ducky? ABBY: Yes! All right. Let's hear it. TONY: Hear what? ABBY: The book! At the end of Deep Six, Goth Forensic Specialist Amy Sutton, she broke up with her boyfriend because she was dating somebody else. Who's the somebody else? TONY: Oh, yeah. Um... yeah, that part didn't really come up, yet. ZIVA: Yeah, I think he's planning on revealing it uh... in, you know, the second part of the book. ABBY: You guys are so lying! (GASPS) He's gay! Ah, there's somebody else! I had a feeling, 'cause Amy always wants what Amy cannot have. Does she know? GIBBS: Know what? ABBY: Forensic Specialist Amy - she fell in love with a gay guy, Gibbs. GIBBS: Is that why I'm here? ABBY: No. GIBBS: Then Amy's on her own. ABBY: ABBY: (QUIETLY) We'll talk later. (TO GIBBS) Um, I ran the blood samples that we pulled off the two bodies. (CONT.) Petty Officer Cove had unidentified blood on his right forearm and hand - matched the blood from his house. ZIVA: Our kller's DNA. ABBY: I'm no investigator, but odds are you're right. GIBBS: That's good work, Abs. ABBY: I also checked Petty Officer Cove's Ford Ranger and Thom E. Gemcity's c-mail for prints. TONY: C-mail? ABBY: Yeah, it's like cookoo mail. No, no. I just made it up. Um... nothing on the truck. All the latent prints belonged to Petty Officer Cove. But on the c-mail, there's dozens of different prints. TONY: Well, that makes sense. 'Cause paper mail gets processed through post offices, delivery trucks, mail rooms. ABBY: Exactly. There's still one spot that only the sender touches. ZIVA: The back of the stamp. You pulled a print? ABBY: Not only did I pull a print, I already got a match. Todd Ryder. Arrested last year for possession of marijuana. MUSICAL BRIDGE TO: INT. AUTOPSY LAB - DAY (SFX: AUTOPSY DRAWERS SLIDE OPEN) DUCKY: Looking for something, Timothy?(SFX: DRAWERS SLIDE CLOSED) MCGEE: MCGEE: I'm just looking. Petty Officer Cove wasn't just a partier. I... called his elderly parents. He visited them two hours every single day. (CONT.) This guy, Adrian Corbett, he just got married. DUCKY: Yes. I took off his wedding ring. MCGEE: Not quite the notorious playboy I made him out to be. DUCKY: Appearances can be deceptive. MCGEE: Every single word I wrote was wrong. DUCKY: No, every word you wrote was fiction. That's why they call them characters. MCGEE: But they're not just characters in a book. They're real people, and real families. Were. DUCKY: I sympathize with the way you feel, Timothy. But you are not to blame for any of this.(SFX: AUTOPSY DRAWERS SLIDE SHUT) MCGEE: Tell them that. CUT TO: EXT. BUILDING - DAY TONY: Todd! TODD: Oh, god! Look out! TONY: What do you call that?(MUSIC OVER ACTION/TONY AND GIBBS CHASE TODD) GIBBS: Running, I think.(SFX: TODD SHOUTS) TONY: Todd, hey! GIBBS: Where's his car? Where's his car?! EMPLOYEE: Employee lot. Around back. CUT TO: EXT. PARKING LOT - DAY TODD: (SHOUTS INTO PHONE) Get out of the building! They know! They're chasing me! Okay... GIBBS: You should have left the top down. Put your hands on top of your head. (TO TONY) Nice of you to join us, Dinozzo. TONY: I thought I was gaining ground. He's got a very unorthodox running style. It's very effective, though. GIBBS: Not effective enough. TODD: I didn't want to do it. I told her it was a bad idea. MUSICAL BRIDGE TO: INT. OBSERVATION ROOM MCGEE: I actually trusted her. ZIVA: There is no way you could have known, McGee. TONY: Ziva's right, Probie. It's not your fault. But if you even think about writing a third novel, I'll kll you. ZIVA: When Abby finds out who her character really feel in love with, you will already be dad. (DOOR OPENS) CUT TO: INT. INTERROGATION ROOM (DOOR CLOSES) CRAWSHAW: I have been sitting here half the night, Agent Gibbs. What am I being charged with? GIBBS: Tampering with a Federal investigation. CRAWSHAW: That's ridiculous. I've answered every question you've asked. GIBBS: Resisting arrest. CRAWSHAW: I told you already. I wasn't running. I was late for an appointment. GIBBS: And mrder. CRAWSHAW: You think I mrder someone? GIBBS: Their names are Petty Officer Darren Cove and Adrian Corbett. CRAWSHAW: Never heard of them. GIBBS: Okay. Well, how about Cameron Meyer and Jared Brenner? Have you heard of them? CRAWSHAW: I think so. They're characters in Tim's next book. GIBBS: The book someone is klling over. CRAWSHAW: Too bad you can't find them. GIBBS: I think we have. You wrote the letters. CRAWSHAW: What? Why would I? GIBBS: Todd gave you up. He said you told him to mail the letters back to the agency. CRAWSHAW: (bat) Well, I can explain. GIBBS: Well, I sure hope so. CRAWSHAW: I wrote the letters, but only to create a bigger buzz. Stalkers mean more press, more press means increased revenue. GIBBS: You made up a stalker to sell more books? CRAWSHAW: Yes, I did. CUT TO: INT. OBSERVATION ROOM TONY: She's lying. ZIVA: If she is, she's quite good. TONY: She publishes fictional novels for a living, Ziva. She knows how to tell a good story. MCGEE: I'm with Ziva. This woman lives to sell books. CUT TO: INT. INTERROGATION ROOM CRAWSHAW: Look, it may sound unorthodox, but I do one interview about those letters and Gemcity's book sales jump through the roof. GIBBS: I didn't think he needed the help. CRAWSHAW: There is no such thing as enough sales. What I did might be wrong, but there's no way I could ever kll anyone. GIBBS: Why should I believe you? CRAWSHAW: Those letters were a strategic business move. I would do anything to help my client sell more books. GIBBS: Anything? TONY: (V.O.) Well played, Boss. MUSICAL BRIDGE TO: INT. HALLWAY - NIGHT TONY: You'll get her in round two.(DOOR CLOSES) GIBBS: There won't be a round two, Dinozzo. TONY: But she didn't break. GIBBS: I know. I was there. MCGEE: She didn't do it, did she? GIBBS: She's your publisher. You tell me. MCGEE: I think she's telling the truth. ABBY: That makes two of us. I compared Crawshaw's DNA to the mystery blood pulled off of Petty Officer Cove. She did not do it. (MUSIC UP AND OUT) MUSIC IN: INT. SQUAD ROOM - DAY MCGEE: I've read this a thousand times, and I've come up with nothing. ZIVA: Then maybe we should spitball ideas and see what sticks. (bat) What? Did I say it wrong? TONY: No, you got that right. MCGEE: No, that's good. So let's start with what we know. Campfire. TONY: Well, we know there's a kller on the loose. One down, two to go. And he's already klled number two. ZIVA: In your book, Cameron Meyer and Jared Brenner only have two things in common. MCGEE: They extorted money and both mrder a convenience store clerk. ZIVA: Maybe the kller was seeking revenge for the clerk's death. MCGEE: No. The clerk's a throw-away character. I didn't even bother to name him. Besides, the stalker letters are fake. So we don't even know that he's delusional. GIBBS: He mrder two characters in a work of fiction, McGee. MCGEE: Okay, so he's probably delusional. But that doesn't mean he's looking for revenge. TONY: You gotta have motive, Probie. MCGEE: Well, I am not convinced that the answer is in my book, Tony. ZIVA: Maybe the answer is in how he got the book. MCGEE: He definitely didn't get it from Crawshaw. She'd never do anything to jeopardize sales. GIBBS: It means he got it from you. MCGEE: Well, I keep everything locked up. GIBBS: It wasn't a question. It's you or Crawshaw. TONY: Trust your instincts, Tim. They're usually right. Take the lead on this one. All we can do is assist. MCGEE: Okay. From the beginning, page one. (MCGEE WALKS O.S.) TONY: I'd say we played that one nicely, Boss. The whole good guy, bad guy technique. GIBBS: Dinozzo. TONY: Yeah? GIBBS: Assist. (SFX: ELEVATOR DINGS) TONY: Hold the elevator! CUT TO: INT. APARTMENT - NIGHT TONY: Ooh. Ah! I am using muscles I didn't even know I had! No wonder you only got to chapter six. MCGEE: Chapter seven. (SFX: MUSIC PLAYS LOUDLY) MCGEE: It's jazz. Helps me clear my mind. GIBBS: No. Coletrane is jazz, McGee. This is a soundtrack to a bad seventies prn sht in the San Fernando Valley. MCGEE: I'm just trying to reenact every detail of my writing process here, okay? TONY: (LOUDLY) I'm sorry. Did you say something? My ears are bleeding and I can't... I can't... (MUSIC OUT) TONY: Thank you. MCGEE: I was trying to show you what I do when I get stuck. TONY: Blocked. MCGEE: Whatever. Up... come on. TONY: I'm in the middle! MCGEE: Up! Okay, sometimes when I'm in trouble, I take a few minutes to free-write. TONY: Free-write? MCGEE: Stream of consciousness. About my characters, my story arcs, my possible plot lines, everything. No filter. TONY: No filter. MCGEE: Whatever pops in my head goes right to the page. TONY: Ah. Write. Be free! Just do it. Free write! Be free. I get it. MCGEE: If I like it, I put it in my binder. If not... (SFX: PAPER SHREDDER) TONY: Do you always use your shredder? MCGEE: Always. TONY: Do you ever just take a stack of pages and toss it in the trash? MCGEE: Never. TONY: Did you ever misplace a binder, or lost a copy of a book? MCGEE: No, and no. The only way the kller got my book is if he broke into my apartment, made a copy, and returned the original. I am a Federal investigator, so I'm sure I would know if someone tried to break into my place. TONY: We're missing something. MCGEE: And while we're trying to figure it out, he is planning on how to kll his next victim. TONY: Or he's already klled them. Sorry. I was just... free-thinking. MCGEE: It's like he's here in the room with me, looking over my shoulder as I write. TONY: Type. Because technically, what you do is type. You don't really write. That would be ... MCGEE: I type. That's how he does it. TONY: Looked over your shoulder? MCGEE: I type. (LOUDLY) Tony, I type! CUT TO: INT. SQUAD ROOM - NIGHT (ELEVATOR DINGS/ DOORS SLIDE OPEN) MCGEE: Boss, I got it! ZIVA: Film? MCGEE: It's from my typewriter. GIBBS: Typewriter ribbons. MCGEE: That's how the kller read my book. ZIVA: Well, where did he get the ribbons? TONY: Trash. kller must have picked them out of McGee's dumpster. MCGEE: That means he had access to all my notes and my ideas. ZIVA: Which means the mrder may not be based on just the book. MCGEE: All these pages are a product of my free-writing. ZIVA: (WHISPERS) Free-writing? TONY: I'll explain it later. MCGEE: One of my many possible endings involves Cameron Meyer and Jerrod Brenner klling me - Agent McGregor. It's a character I based on myself. ZIVA: If the kller is confusing fiction with reality, then you've got a motive. GIBBS: He's protecting you. TONY: He's already klled two of the characters. Who's the third? MCGEE: I haven't decided yet. But Meyer and Brenner are the only characters that wanted me - McGregor dad. TONY: They why does he think there are three? MCGEE: I don't know. I decided it'd be stupid to kll McGregor. Everyone likes him too much. ZIVA: Well, not everyone. (READS) "Forensic Specialist Amy Sutton offered her heart to Agent McGregor only to be rejected. Using sign language, she tells her deaf mother that she can't live without him. He's going to have to go." MCGEE: Yeah, "go" as in leave the agency. Not "go" as in "go." GIBBS: Does the kller know that? MUSICAL BRIDGE TO: INT. ABBY'S LAB - NIGHT GIBBS: Abby! ZIVA: She's not answering her cell. GIBBS: Security detail? TONY: Shift change; they just arrived on duty outside her apartment. MCGEE: She's gone. ZIVA: She's not answering her home phone either, Gibbs. GIBBS: Send them in. TONY: (INTO PHONE) Secure the apartment! MCGEE: No, she's not there. Uh... her apartment's flooded. She's staying with Sister Rosita and the girls. ZIVA: Sister Rosita? MCGEE: From her bowling team. TONY: The bowling nuns.(ELEVATOR DINGS/ DOORS CLOSE) MUSICAL BRIDGE TO: INT. ROOM - NIGHT (SFX: CELL PHONE RINGS/ VIBRATES) (SFX: ABBY GASPS) LANDON: Hi, Amy. CUT TO: INT. CAR - NIGHT MCGEE: Still no answer. GIBBS: Call again, McGee. MCGEE: I can't believe I let this happen. ZIVA: Abby knows how to take care of herself, McGee. TONY: And she's got a crew of nuns watching her back. MCGEE: Nuns are on a spiritual retreat. She's on her own. (SFX: CAR ACCELERATES) CUT TO: INT. ROOM - NIGHT ABBY: Are you... here to see someone? Um... because the sisters - they're gone....for a minute. They went to the church and should be back anytime. LANDON: If you were smart, you would've just let him go, Amy. ABBY: My name's Abby. LANDON: I know rejection is hard. But let's face it, you're not good enough for him anyway. ABBY: Good enough for who? LANDON: Special Agent McGregor. MUSICAL BRIDGE TO: INT. CAR - NIGHT (SFX: CAR TIRES SCREECH TO A STOP) GIBBS: You two take the back. McGee, you're with me. CUT TO: INT. CONVENT - NIGHT ABBY: I'm sure there's some sort of communication problem here. LANDON: Don't talk to me like I'm stupid! I know what you said. ABBY: That makes one of us. LANDON: How were you planning to do it, huh? ABBY: Do what? LANDON: kll him. With poison? I bet with your forensic training, I'll bet you could come up with something pretty - I wouldn't do that. (SFX: Knfe CLATTERS TO THE PLATE) LANDON: I will say, I've always respected your courage, Amy. TONY: (SHOUTS) Drop your wapon! ZIVA: (SHOUTS) He said drop it! Now! LANDON: Officer Lisa! Agent Tommy. I'm afraid I can't do that. You don't know it yet, but your partner's in danger! MCGEE: Landon? Landon, what are you doing? LANDON: I'm protecting you. ABBY: McGee, who is this guy? MCGEE: He's a friend. LANDON: Don't! I have to do this!! MCGEE: Landon, she's not going to hurt me. It's just a book. It's not-- GIBBS: Finished yet. Tell him the ending, Agent McGregor. Tell him what happens. MCGEE: It's not what you think, Landon. Amy and I ... Amy and I get married. LANDON: (LONG bat) You... you marry her? MCGEE: Yeah, I do. That means that if you kll her, you're klling the only woman I ever loved. Landon, I really do love her! It just took me a while to figure it out. (ALL MOVE TOWARD LANDON) LANDON: I was only trying to help. GIBBS: You k*lled two people. LANDON: I had no choice. They set a wedding date yet? TONY: Guest list is full, buddy. GIBBS: Are you okay, Abs? ABBY: Oh, with the amount of bad guys after me, I feel like I'm dating Spiderman. MCGEE: Abby, I am so sorry. ABBY: We need to talk. MCGEE: I know this is all my fault. ABBY: Agent McGregor cannot marry Amy in the end. McGee, they're all wrong for each other. (MUSIC UP AND OUT) (ENDING CREDITS UP AND OUT)	{"type": "series", "show": "NCIS", "episode": "04x20 - Cover Story"}	foreverdreaming
Previously on NCIS: Resume of the previous season. NCIS THEME Black-and-white snapshot of Jenny. In her office, Jenny is asleep. She dreams of her father and attends his su1c1de. She awoke roughly when her father sht. She closes a drawer which contain a gn. In La Grenouille's limo Jeanne: My father knows everything about you. La Grenouille: Only what my daughter tells me. Jeanne: And I tell hil everything. Tony laught nervously followed by Jeanne most naturally. Tony: That's great. So here we all are, on aour way to... Where exacty are we headed? La Grenouille: I dont' know. Breakfast? A chance for us to get know each other. Jeanne nodds. La Grenouille: I'm sure you have lot of questions. I know I do. Jeanne: My apartment first, papa. You wouldn't believe the night we've had. Tony squirms on the seat and tries to quietly take his phone while Jeanne continues to speak. He can not. Jeanne: I was very frightening. Tony: Yes, your daughter is very impressive with a scalpel, Mr Benoit. La Grenouille: Please, Rene. Jeanne (to Tony): You never told me you could sht. Tony: Well I can't, clearly. I missed Jeanne: On purpose. René Benoit: There was a shting in the hospital? Tony: It's a long story Rene. René Benoit: We have all week-end. Tony: Well, it's really more of Jeanne's long story than mine. Jeanne: There was this crazy young guy who tried to smuggle heroin into the country and he got ht by a car... Tony tries to quietly take his phone under the suspicious gaze of René. Jeanne: .... one of the bags in his stomach burst but we didn't know until it was too late. And then ... She is interrupted by the ringing of his topper. Jeanne: I forgot to sign the death certificate to release the body. Sorry Papa. René Benoit (to his driver): Henry, back to the hospital. Henry: Yes sir. Tony: Well, I guess breakfast is gonna have to wait. René Benoit: And all those intriguing questions. NCIS The elevator doors opened, Ziva is inside. She starts to step out but McGee is before the gates. Ziva and McGee (in the same times): What're you doing here? Ziva: I asked first. McGee: Well, technically, Ziva, I think that if we were to put that to a test, you'd find that it was too close to call. But since my parents raised a gentleman, and yours raised a kller, I was deffraging my computers. Ziva: Liar. She goes to the office talking. Ziva: Have you heard from Tony? McGee: You came into the office on a Saturday morning because you're worried about Tony? Ziva (Seeing the remains of food on McGee's desk): You have been here all night? McGee: Is that a question or a statement? Ziva: Question. McGee: It sounded more like a statement. Ziva: Demands a answer. McGee: Yes, I've been here all night. Ziva: Fragging the computers? McGee: "Deffraging". You need to work your inflections when you're asking a question. For example, why are you worried about Tony? Ziva: He was supposed to meet us at the bar last night. He did not arrive, did not call. He's not answering his home phone or his cell phone. Do you have the number to his second cell phone? McGee: The one he uses for his private calls? Ziva: Yes. McGee: No. Ziva sees Gibbs' desk with food on it. Ziva: Gibbs was here all night too. Are we a team McGee? Gibbs' voice: Morning Ziva. He arrives. Gibbs: Nothing better to do on a Saturday morning? Ziva: Teams do not have secrets Gibbs. And if you do not tell me what you were both doing here last night, McGee know he will... Ziva smiles. Ziva: ... eventually. Hospital's parking The limo parks. Jeanne goes out followed of Tony. Jeanne: Won't be long. Tony: I can come with you if you want Jeanne: No need. He won't bite. It starts, Rene out of the limousine from the other side and Tony beeps Jenny on her cell phone. René Benoit: Coffee? Tony: Coffee would be great. René Benoit: Good. While we wait, you can tell me how you stole my daughter's heart. They move away from the limo. Abby's lab The director enters, Abby is asleep on the floor. Jenny sees that the research she had given to Abby has a result. The analysis reveals that the fingerprints taken on glass is one of Jasper Shepard, her father. Jenny erases all the results and Abby wakes with a start. Abby: I'll get it. I'll get it. Director. Jenny: I'm sorry for keeping you here all night Abby. Abby: You know what, that's okay. It's not the first time I've woke up on the floor. And not just his floor. Not that I make it a habit of passing out on floor. And not that this isn't a really comfortable floor. If I had to... I'm awake now. Jenny's phone rings. It is the cell coverage of Tony, but she did not have time to respond. Jenny: Thank Abby, you can go now. Abby (looking at her computer): Did we have a match. Jenny: No. She leaves the lab. Abby: Poor guys. Humming away all night and for nothing. She taps on his keyboard and context "delete search" appears. Abby: What search result? Jasper Shepard's photo appears. Abby: This is not good. NCIS Ziva: Why would the CIA come after the director? Gibbs: You tell me. Ziva: Protecting their asset. McGee: La Grenouille. Ziva: Does the director know? Jenny's voice: Know what? She comes. McGee: That it's Saturday, and we are all here on our day off, because we love our jobs. Ziva: Except for Tony who is missing. Jenny: McGee, I want you to triangulate a cell number: 202-555-0177. Gibbs: DiNozzo in trouble? Ziva: I knew it. McGee is tapping on his keyboard, Gibbs looks over his shoulder. Jenny: The woman Tony has been seeing, Jeanne Benoit, is la Grenouille's daughter. McGee: He's been on assignment? Gibbs has came himself in front of Jenny. Gibbs: You did plan to tell us at some point? Jenny: If it led us to her father, yes Gibbs: Yeah, did it? Jenny: I don't know. Gibbs: You wanna tell us what you do know director? Jenny: Tony just contacted me unsing his alias's cell. It was a prearranged signal using only in emergency if he thought his cover had been blown. McGee: Triangulating. He displays the result on the plasma. Ziva: Anthony DiNardo, cute. Jenny: I want this fed to MTAC and I want satellite coverage. McGee: On its way. Before hospital Tony and Rene Benoit take cafes. René Benoit: So, what did Jeanne tell you about me? Tony: Oh, everything. World's greatest dad. René Benoit: Children want to believe the best of their parents. I'm sure you believe your father is a good man? Tony: He was. René Benoit: Still, love has a way of blinding us to the imperfections. They walk. Tony: It's still live René Benoit: True. And we both love Jeanne . Tony: Yes we do. René Benoit: Are you going to break my daughter's heart? Tony: No, sir, not if I can help it. René Benoit: Sometimes we lie to the people we love in order to protect them, true? Tony: You've lied to Jeanne? René Benoit: Well, have you? Jeanne leaves hospital. Tony: Here she comes. Tony grabs him by the waist. Jeanne: Done. Now let's get out of here before they remember something else Tony: I have to move my car, because... Jeanne: They'll tow you for sure. They are mrder around here. René Benoit: We wouldn't want that. Stay close. Wouldn't want to lose you. Tony: No chance of that. Everyone goes to his car. NCIS, MTAC The street plan of the city is displayed, a diamond marks the position of Tony. McGee: He's on 22nd Street Northwest outside Monroe University Hospital. Jenny: He's on the move. McGee: He must be in car. Jenny: How long until get satellite coverage? McGee: At least 15 mins. Looking annoyed Gibbs sat in a chair, coffee in hand. McGee: Or we could patch into D.C's traffic-cam system. See if we can locate him on the traffic-cam management. Gibbs: Do it. Jenny (to Ziva on the phone): Anything? Ziva: Still not answering. Shall I try his undercover cell phone? Jenny: Put it on speaker. (Tony messaging, music of 20th Century Fox): Hi, you've reached Professor Tony DiNardo. Leave a message and I will get back to you. I promise. Jenny: His cover is teaching film online at American University. Ziva (to McGee): Tony, a teacher? McGee: No wonder he's been compromised. Whose bright idea was that? Jenny: Mine. McGee's computer beeps . McGee: We're in. Jenny: Bring it up. Images of the movement appear on the big plasma. McGee: Got it. Overlaying the cell-phone signal. Ziva: Tony's car. McGee: Tony DiNardo's car. Gibbs: How deep is his cover? Jenny: Deep enough to withstand the sort of scrutiny la Grenouille can bring to bear. Gibbs: You better hope so. McGee: West on M Street. Jenny: No one else is in the car with him. She tries to call him. McGee: He's turning north onto 29th Street. Ziva: trafic speed. No sign of dureless. Jenny: His cell phone is still of. Ziva: No one seems to be tailling him. Gibbs: Maybe he's the one doing the tailling. McGee: Still on 29th. Tony's car exploses. The whole team was surprised. Jenny: Oh my God! Black and white snapshot: Gibbs The staff and the director arrived at the place where Tony's car has explosed. Firefighters deviate to let the team work. We see a charred body bent over the wheel of the car. Gibbs: McGee. McGee looks at the car and can not be detached. Gibbs: McGee! McGee out of its torpor and takes pictures of the particular wapon and the phone while Jenny looks at Tony's body and found an object. Jenny (to McGee): Hey, that some of timer device? McGee leans over and takes the object photographed. McGee: Ten bucks in most electrical stores. Probably activated when the ignition turned on. Ziva took the car photo. McGee: ... Count down however long you need it to. When it reached zero... Jenny gets up and walks to Ducky who examined the body, Gibbs by his side. Ducky: Shock wave would have klled him before the fre. Death would have been instantaneous. Small mercies, my dear boy. Jenny: Identification? Ducky: The general build, height, weight are about right. Most of the epidermis and dermis on the hands and fingers have been brned off, so no fingerprints. We need to get his dental records for positive identification. And there is any chance that it's not Tony? Jenny: None that I can think of. She walks away. Ducky (to Gibbs): She blames herself. Gibbs nodded. Ducky: Should she? Gibbs: Let me know when you finish, Duck. He goes in turn. Ziva on his side the badge photograph of Tony. McGee is with her. McGee: You believe in miracles, Ziva? Ziva: Not part of my training. McGee: That might be not Tony. They both look the car silently. Abby's lab. It removes the evidence found at the scene of the accident. Gibbs is also there. Abby: Tony is not dad Gibbs. Not until Ducky says it's him. Until then, he's just... he's not here. And I don't care what the evidence says. Even if everything here belongs to Tony, it's still not him until Ducky says that it's him. And don't try to tell me anything different, because I'm not gonna believe you. She freezes. Abby: Tell me it's not him Gibbs. Tell me it's not him. She takes Gibbs in his arms. Gibbs: I wish I could Abby. She departs from him and goes to his computer. Abby: I need to be alone right now with the gng. I've got work to do. Gibbs sees the bottle of scotch and glass that gave Jenny the analysis. He takes gloves. Gibbs: Abby, how did these get here? Abby: Director Shepard swore me to secrecy when she brought those in and asked me to run them for the prints, so I can't tell you. He took off the gloves and approached her. Gibbs: Any other secrets you can't tell me? Abby: No. It's just that one. Because when director Shepard said that there wasn't an AFIS match, and then tries to hide the results from me, she actually didn't swear me to secrecy, so that is not a secret. Gibbs: Who was the match? Abby: Her father. Gibbs: Her father has been dad for 12 years, Abby. Abby: No, not according to AFIS. She taps on his keyboard and displays the results. Abby: That is a ten-point match, Gibbs. These are new prints. There's no way Director Shepard's father is dad. Director's Shepard office Jenny looks out the window. Gibbs is in his office. Jenny: I burried my father Jethro. I know he's not comming back. But someone is going to great lenghts trying to convince me he's alive. She turns and faces Gibbs. Gibbs: We've got a polygraph test Monday. Jenny: Routine. Gibbs: They're targeting someone. Jenny: Me? Gibbs: So I've been told. Jenny: I've never failed a polygraph. I'm not abour to start. Gibbs: And if they asked you about your father? Jenny: He's dad. Gibbs: Any doubt, any hesitation will raise a red flag. Jenny: There is no doubt. Gibbs: I saw his fingerprints. Jenny: My father's dad. Gibbs: Subject displayed emotional instability suggesting delusional belief her father isn't dad. Next question. We just put her on medical leave or we fre her? Jenny defies Gibbs. Gibbs: Opération Lodestone, you know it? Jenny: Should I? Gibbs: Black op, focused on wapon control and arms proliferation. Jenny: Not one of ours. Gibbs: CIA. Jenny: My father's job at the Pentagon was in a field of arms control. He was under investigation for accepting a bribe when he was klled. Gibbs: Coroner says he took his own life. Jenny: He was mrder. Gibbs: Proof? Jenny: None, but I know who's responsible. Gibbs: The same guy you sent one of my agents after? Jenny: One of my agents. A deep undercover operation that I ran on a need-to-know basis. Gibbs sighed and headed toward the exit. Jenny: And Jethro if you think I'm obsessed with la Grenouille because of what's happened to my father, you're wrong. Gibbs: You may wanna skip this polygraph test Monday. Gibbs leaves. NCIS McGee looks again the images of the explsin of the car. Ziva is at her desk. Ziva: Must you keep doing that? McGee: Just checking something Gibbs said. Tony wouldn't have carried it with him, you know. His shield and ID, not if he was undercover. And he would have stashed it in the car, maybe under the seat. Just because we found his ID doesn't mean it's Tony. Ziva: His car, his ID, his wapon, both of his cell phones, McGee? McGee sits on the edge of the office of Gibbs and rewinds the video. Ziva gets up and comes near him. Ziva: What was is that Gibbs said that you thought needed checking? McGee: He thought Tony might be talling someone. They will view the video. Ziva (outstretched hand to the screen): Stop it there. Take it back. McGee rewinds. A limousine is displayed. Ziva: It's a limousine. It was on the previous camera. It's on every camera. McGee: He was following that limousine. He goes to his computer. Ziva: Where is Gibbs? Ducky's autopsy room Ducky is currently disequations lung. Palmer is at his side, winning in a small jar that is Ducky. Ducky: Another shrapnel, lower left lobe. He puts it in the little jar. A bell rang. Palmer: Blood test are back. He take the paper. Ducky: What type? Palmer: A+ Ducky: And Tony's? Palmer looks into the computer. Palmer: A+ Ducky sighed. Ducky: Yes, well, 34 percent of the nation's population share the same blood group, let's not go drawing any conclusions. Well, await the dental records before making a positive ID. in the meantime,.... It begins to dictate his report, Palmer is taking notes. Ducky: ...the lungs: penetratives shrapnel damage, middle and lower left lobes. Otherwise, heathly tissue. Non-smoker, minimal scarring. Palmer (writing): Minimal scarring. Ducky: Minimal scarring. Palmer: I got that doctor. Ducky: Yes but Mr Palmer, how could he? Palmer: How could he what, sir? Ducky: Have minimal scarring in both lung. He takes a Knfe and cut the lung. Palmer: Healthy living? Ducky: Yersinia pestis, y pestis. Palmer: The pneumonic plague? Ducky: Yes, the plague Mr Palmer. This man has never had the plague. They smile. Ducky starts from. Ducky: He's never had the plague. Palmer: No, he has never had the plague. Ducky: He never had this damn plague. He took off his gloves and threw them in Palmer. Palmer laughed. NCIS Ziva, McGee and the director are before the plama. Gibbs stands a little further. Ziva: The limousine is leased to a shell company. The parent company is EuroFreight. McGee: Head office is in Luxembourg. Ziva: The principal behind the company is Rene Benoit. McGee: Tony could been followed la Grenouille. Ducky arrives and goes to Gibbs. Ducky: I'm sorry to differ Timothy but he wasn't. (To Gibbs) Look, Tony contracted pneumonic plague, I'm sure everyone can remember. Ziva: Before my time. McGee: He almost died. Ducky (to Ziva): From severe pneumonia. (To everyone) As a result, his lung would have been extensively scarred. Unlike the almost pristine lung of the man currently in autopsy. The body on which I am performing an autopsy is not Tony's. All smiles. Jenny: If it's not Tony, then who is it? Gibbs: And where is DiNozzo? Black-and-white snapshot of Jenny Jenny is in front of the plasma, McGee and Ziva to their office. Gibbs looks over the shoulder of McGee. Jenny: I wanna know everything about this company. Bank statements, telephone records, personnel. McGee: Hard drive's spinning up now. Jenny: Everything Tim. If la Grenouille is in D.C, this could lead us to him. Gibbs: Or DiNozzo. Jenny: Well, obviously DiNozzo is our first priority. Gibbs: Ziva, start with the hospital. Find out when DiNozzo left and with whom. Ziva: And who was driving his car. Got it. Trent Kort arrives. Kort: Director Shepard. Jenny: Mr Kort. An unannounced visit by the CIA usually means someone's in trouble. I trust it isn't you. Kort watching everyone. Kort: Where is he? Jenny: It depend on who "he" is. Kort: DiNozzo. McGee rises. Jenny: I honestly don't know. And even if I did, I wouldn't tell you until you explain to me why you're looking for me so urgently. Kort: Le Grenouille flew to D.C this morning. He didn't arrive at his safe house... Gibbs rises of his office. Kort: ... and his satellite phone has stopped transmitting. Gibbs: Mislaid your arms dealer? That's gonna be embarrassing. Kort: I don't know what NCIS is up to, but I want a private briefing in your office now. Jenny: I'll decide what briefing you get and where you get it, Mr Kort, and if we have a problem with that, why don't you have your director give me call. Kort: You are jeopardising one of the most important long-terme covert operations the agency has ever conducted. Gibbs: Operation Lodestone. Kort: You're not read in on Lodestone. Gibbs: Ok, so read us in. Jenny: Unless the CIA just believes in one-way trafic. Kort: This is not going to end well for you. He heads toward the elevator followed by everyone. Gibbs: Special agent DiNozzo's car was bmb this morning but I guess you know that. Kort: He wasn't in it. Jenny: Thanks for sharing. Kort: The agency has nothing to do with it. Gibbs: Is that when you mislaid your frog, in all that confusion? The elevator doors opened on Tony who laught when he see Kort. Tony: Hey, my car blew up this morning. Did you do that? Kort took him by the collar and the plate against the wall. Kort: Where did you go with la Grenouille? Tony turns his head and it means the team all wapon out and pointed at Kort. He lets Tony. Tony: Actually he prefers René. Arms dealers get very touchy about their code names... The team lowers his arms. Tony: ... "The Frog" has a kind of slimy overtone to it. Maybe you should keep that in mind for next time. You could use it yourself. Kort: We will find him, DiNozzo. Tony: You may wanna take the stairs. I had a little upset tummy this morning. Kort enters the elevator. Tony: Happy frog-hunting. (To the team). What, no balloons? In director's office Tony, Jenny and Gibbs watches the video of the explsin of the car. Tony: That was more exciting live. They all sit around a table. Tony in front of Gibbs. Jenny: You saw it? You were there? Tony: Saw it, heard it, felt it. Jenny: You can start whenever you're ready. Tony: He was waiting when I left the hospital this morning with Jeanne. She'd arranged it. It was her little surprised, I guess. Meet the parents: Part 2. I hat sequels... Gibbs smiles. Tony: ... Figured my cover was blown as soon as saw him. Turned out he'd know for months. Gibbs: Kort? Tony: Probably. I tried talking my way out if it. * Tony gets into his car in the garage of the hospital. * Tony: Made it as far as my car. * René Benoit: Tony! Tony: Crap! René Benoit: These's no need to take your car. Henri will drive it. You come with Jeanne and me. Tony: Oh, that's really nice of you. I gotta go, I really ... I need to go home and change... René Benoit: I will have to insist, agent DiNozzo. Tony gets out of the car. Tony (to Henri): Be careful with the second. It tends a stick a little. Henry: Your cell-phone? Tony gives it to him. René Benoit: Both of them. * Jenny: Did la Grenouille tell Jeanne who you were? Tony: They didn't miss a bat. Pretended everything was fine. That didn't last long. I could see this guy driving my car a few car lenght behind us when...boum. Back in the limo. Behind her, Tony's car explodes. René Benoit (to Jeanne): Stay down. (To the driver) Allez!!! * Tony uses a drink of water. Jenny: What was la Grenouille's first reaction? Tony: That he was the target. He drinks, sighs. Tony: I'm not so sure. Gibbs: You think it was you, Tony? Tony: It was my car, boss. And we have certainely pissed off the agency a lot lately. Well, the director and I have pissed off the agency a lot lately. Although, mainly me. Gibbs: For what it's worth, Kort denied the agency involvement. Tony: That's because Kort doesn't play by agency rules. The guy's got a hair trigger. Jenny: Where did la Grenouille take you? Tony: Well, kind of blew away the breakfast plans. Blew away a lot of things. Jenny: Jeanne. Tony: It wasn't supposed to happen like this. Jenny: You never really thought it could end any other way, did you? Tony: You mean, other than badly? Jenny: You're not supposed to fall in love with him. Tony: Thank you so much for that, director. I am gonna keep that in mind for next time. Wait a second, there's not gonna be a next time. Jenny: What did Jeanne say? Tony: Nothing I'm gonna tell you. Jenny: Agent DiNozzo! Tony: Nothing you need to know, director. Furious sight from Jenny but proud from Gibbs. Jenny: Where is la Grenouille? Tony: I don't know. He dropped me off at the main gate. Drove west. Probably heading to California. He was driving pretty fast. He could even be there now. Talk about his future. Gibbs: Yeah? About what? Tony: Doesn't think he has one. Jenny: Probably doesn't. Tony: He wants out. Gibbs: Kort knows. Tony: That would explain why he's so desperate to find him. The CIA is about to lose one of its most prized assets. Jenny: What exactly does he mean by "out"? Tony: Well, he's gonna call and arrange a meeting. And give himself up. Because he says NCIS is the only agency he trusts. NCIS Ziva is on the phone. Ziva: What time? Did she say how long she would be gone? McGee arrives and gives him coffee. He sits on the edge of the desk. Ziva: No, no, I understand. Thank you. Tony McGee arrives and slaps on the back of the head, then will move to his office. McGee: What was that for? Tony: Believing I was dad. McGee: Hey, I never believe that you were dad. Ziva was the one that gave up on you. She gives him a punch on the arm. Ziva (to Tony): Don't even think about the head slap. Is everything cool with the director and Gibbs? Tony takes his phone. Tony (to Ziva): Beyond cool. Almost icy. Ziva: You seem anxious. Tony: I'm fine. Anyone call for me? McGee: No. Ziva: If you're calling the hospital, she's not there. She called the ER to let them know she was going away for a few days. Tony hangs up the phone violently. Tony: Going where? Ziva: She did not tell them. Tony: Well... Ziva: She knows? Tony: She knows. Ziva: What are you going to do? Tony: I am gonna wait until the morning and then talk to her. Abby comes screaming and runs into the arms of Tony. Abby: Tony! I knew you were all right. I knew it. Everybody else give up for dad, even Ziva. Ziva (a paper cup in the hands): Ok, so I may have acted a little hastily. Tony: That's my letter opener. Ziva: Excellent balance and weight. The edge is a little dull but I have always admired it. Tony opens his drawer. Tony: Where is my American Pie coffee mug? Abby: Palmer. Tony: Mighty Mouse stapler? Abby: Ducky. Behind Tony, Ducky tries to discreetly put the staples. Abby: Hey Ducky. Tony turns. Ducky: My dear fellow I never believed it for a moment. Welcome home. He gives the staples to Tony and left. Gibbs arrives. Gibbs: It's not every day people think you are dad DiNozzo. Abby (running to Gibbs): Gibbs, I know who blew up Tony's car. Well not Tony's car, but his alias's car. And not exactly who but more like how and why. McGee: Do you have a motive? Abby: Me? No. But they do. Abby's lab Abby explains his theory to the whole team. Abby: Every bmb-maker has a signature: the components, the way it's assembled. Sometimes right down the colored tape they use to bind it all together. In this case, the components are common to at least 9 others bmb that have gone off in the last 4 years. She goes to his computer and showed pictures of explsin. Abby: I made a match on Interpol. The bmb have gone off all over the world: Algeria, Indonesia, the Middle-East, Chechnya... Ziva: Anything linking the victims? Abby: They were all arms dealers. McGee: The only problem is Tony's not an arms dealer. Gibbs: Girlfriend's father is an arms dealer. Tony: She's been working nights. I pick up her every morning for breakfast. Ziva: You park the car, they strap on the bmb set the timer and walk away. Gibbs: You weren't the target, she was. Tony: Maybe she still is. Gibbs: Take Ziva. Tony et Ziva leaves. Gibbs (to Abby): Good. Director Shepard's house Jenny opens the door of his house, her cell phone rings. Jenny: Hello?. René Benoit: Good evening Madam Director. Jenny: Good evening. I've been told you wanna meet me. René Benoit: Long overdue. I'm sure. She turns the lights on and closes the doors. Jenny: Just tell me where and when. René Benoit: Now. In you study. La Grenouille is in front of her in her office. René Benoit: Hello, Jenny. Black-and-white snapshot of a boat. Jeanne's apartment Tony and Ziva arrives at the apartment of Jeanne. They enter. Tony: Jeanne? The cupboards are empty. Jenny's house Jenny and la Grenouille are in the office thereof. She stays away from him. René Benoit: So here we are at last. Face to face. Jenny: Not quite the way I expected to meet. René Benoit: Nor I. I must compliment you for your pursuit. They settled in a chair, Jenny is behind his desk. René Benoit: I actually like your agent DiNizzo. Jenny: So does your daughter. René Benoit: Very much, yes. Jenny: What do you want from us? René Benoit: Well, a sanctuary, assylum. Call it what you will. In return of my extensive knewledge of the arms market, I want protection for my daughter. Jenny: Protection from whom? Gibbs enters. Gibbs: Whoever tried to kll his daughter this morning. René Benoit rises. René Benoit: Agent Gibbs, I believe. Well, it's true. My ennemis come for my daughter. They wanna see me suffer. But she's safe. For the time being. Gibbs: Which ennemis? René Benoit: I have many. Jenny: Why now? Gibbs: This have something to do with Operation Lodestone? René Benoit: He's well informed. Jenny: Read us in. René Benoit: On what? The arrogance to the CIA to do what? Make me the biggest arms dealer in the world? Gibbs: You control the illegal arms trade, the CIA controls you. René Benoit: That was the idea. Until you came along and someone found out. Another arms dealer perhaps. And I'm running out of time. I can no longer trust Kort. Gibbs: Did you ever? Jenny rise. Jenny: This isn't the first time you were in this study. René Benoit: No. I met your father here on occasion. Many years ago. Jenny: Tell me about us. René Benoit: He was a fine man. He had a couscience. One day, it got the better of him. Jenny: You believe the story that my father took a bribe while overseeing an arms-reduction treaty? René Benoit: Well, sadly, that's not a story. It's a fact. Jenny: How do you know? René Benoit: Because I paid him that bribe. She pulls out a gn from his drawer and points to la Grenouille. Jenny: No. You klled him because he wouldn't take it. René Benoit: Well, I can understand how hard that is to accept. My daughter is... she's facing the same struggle. Jenny round the office and is placed in front of the trffick. Gibbs (to Jenny): It's not loaded. I guess he bat you to it. René Benoit: I didn't want you to do anything rash before I had a chance to explain myself. I need your protection. Jenny: You have the bllts. Take the damn gn. Protect yourself. She puts the gn in his hands. René Benoit: You're sign my death warrant. Jenny: Twelve years overdue. He put a card on the desk. René Benoit: Here's my number in case you change your mind. Jenny: You'd better leave before I do. René Benoit: I hope my daughter is as loyal to her father as you are to yours. He leaves the house. Jenny is drinking a scotch. Gibbs: You just let your personal obsession get in away of your professional responsability. Jenny: That's a lot of crap, and you know it, Jethro. There no deals for men like him. You wanna chase after him right now and arrest him without a warrant, you go right ahead. But we both know that Kort will have him out before breakfast. Gibbs: Then get your damn warrant. Jenny: You get a warrant. But you'd better do it fast before his friends get him first. Gibbs: If the wapon was loaded, and I wasn't here, would you have pulled the trigger? Jenny: I guess we'll never know. He put a charger on her desk and leave. Jeanne's apartment Ziva is a letter from Jeanne, she gives it to Tony. Ziva: On the table. Tony opens it and reads it, then he turned to Ziva a smile. Tony: You ever lie to someone you love, Ziva? Ziva: Yes Tony: They ever forgive you? Ziva: They never found out. Tony: Mine found out. Ziva: He told her. Tony: No. I did. *** Tony and Jeanne are sitting on a bench in a park. La Grenouille is later. Jeanne: I don't understand what's happening? Tony, that was your car. Your car that just... It could have been you. It should have been you. Tony: Tell me you love me. Tell me. Jeanne: I do. It's just everything that's happened... Happened today. Last night, the way you handled things, the gn. The gn fring it the way you did, and now this? It's like you're someone else, Tony. Someone else. Someone I don't know. What is it? In his corner, la Grenouille yells on a phone. Jeanne: You are, aren't you? Someone else. Who? Who are you? Tony: I'm a federal agent. My name isn't Tony DiNardo, it's Anthony DiNozzo and I work for the Naval Criminal Investigative Service. Jeanne: This is all been a lie. A lie? Tony: Jeanne, listen to me. Not all of it, not everything. Just some things. Not the importants things. Jeanne: Why? Just tell me why you did this. What it is I'm supposed to have done. Tell me. Tony: It's not you. He looks at la Grenouille. Jeanne: What? Tony: You should ask him. She leaves, Tony is alone. ** Tony: Well he said she'd come back after she calmed down. I guess he was wrong. Ziva: I will put out a BOLO. We will find her. Tony: She doesn't wanna be found. Ziva leaves and Tony lot sits against the couch. NCIS McGee is on his computer, Ziva plays on her cell phone. McGee: No luck? Ziva: Not at home. And he's not replaced his cell phone yet. McGee: Maybe he took the day off. Ziva: Gibbs would have told us. Gibbs arrives a coffee in his hand. Gibbs: Gibbs would have told you officer David? Ziva: If Tony was taking some time off. Gibbs: Yeah, you're right. There always more work to be done when you're a man down on the shift. McGee? McGee: I think I've got something here, boss. I found another one of la Grenouille's shell companies. Similar of the one that leased the stretch limo, only this one leases a yacht down at the Gangplank marina called the Mauritania. Gibbs: How big? McGee: Eighty feet, three state rooms. Ziva checked with the marina management. Someone's been staying there since Saturday. Older guy with an accent. They think he's French. Gibbs: And a younger woman? Ziva: No, he said he was alone. Gibbs: Warrant? Ziva: Just arrived from Legal. It is all in order. They could not guarantee it would not stop a concerted legal challenge from the Agency. Gibbs: Yeah, let them try. Let's go. The team takes its business. Marina The team arrived at the marina to the boat. They are armed and boarded. They searched the boat but it is empty. Ziva: He's gone. McGee: Maybe he was never here. Gibbs find la Grenouille's jacket. Gibbs: He was here. They descend from the boat. McGee: We'll catch up with him eventually. Ziva: Someone will. Gibbs: One day. On the boat, we see a silhouette. In the water floats the body of the frog, sh*t in the head. END	{"type": "series", "show": "NCIS", "episode": "05x01 - Bury Your d*ad"}	foreverdreaming
SCENE: The apartment, a close up of Jess, sat on a sofa facing Nick, Schmidt and Coach. JESS: So, you know in horror movies when the girl's like "Oh my god, there's something in the basement. Let me just run down there in my underwear and see what's going on in the dark", and you're like "what is your problem? Call the police", and she's like "okay" but it's too late because she's already getting mrder. Well, er, my story's kind of like that. FLASHBACK - "Two Weeks Ago" - Jess is in a taxi, on the phone to Cece, her best friend. JESS: It's a surprise for Spencer. I'm just gonna walk in and I'm gonna drop my coat on the ground. He says he had this fantasy that I'm a stripper with a heart of gold, and he's helping me put myself through college. CECE: He didn't say the college part, did he? JESS: Um, no, I wanted to create a three-dimensional sex character. CECE: Really? What's your stripper name? JESS: Uh... Rebecca Johnson? CECE: Your stripper name's Rebecca Johnson? JESS: Boobies Johnson. Two-boobs Johnson. CECE: Look at you, in the back of a cab, totally naked. I am so proud of you. SCENE: Spencer's House - Jess enters through the front door, wearing nothing but a coat. JESS: Hellooo? I came home early. SPENCER: (Steps out of a room, surprised, wearing nothing but his underwear.) Jess. What- JESS: Who's Jess? You're talking to...Tiger Boobs. (Jess takes off her coat and drops it on the ground, now completely naked.) SPENCER: Oh... JESS: (Jess picks up a pillow, covers herself and starts dancing seductively a bit and sings a little stripper tune.) (Singing) I'm doing sexy things (starts trotting to the side) with the pillow. SPENCER: This- JESS: (While shaking a plant, singing) I''m doing sexy stuff to the plant right here... (The plant falls over, making a mess.) SPENCER: Woah, okay. JESS: (Singing) I'll pick that up later. JESS: (Turns around, singing) Who's that girl? (Louder) Who's that girl? (Spins back around) It's Jess! (Another girl stands by Spencer in her underwear) SPENCER: Um... (Jess stands and stares in absolute shock.) Close up of a ribbon dropping to the floor that was previously covering Jess' lady parts. Flashback End. SCENE: Back in the apartment. JESS: So, that happened. That's why I need a new apartment. I'm sorry, what was the question again? (We now see Nick, Schmidt and Coach sat opposite Jess on the other sofa. They're all staring at her, speechless.) NICK: Do you have any pets? OPENING CREDITS SCENE: Everyone remains where they were before the opening credit. JESS: You know what's funny? When I saw your ad on Craigslist, I thought you were women. SCHMIDT: (Nick, Schmidt and Coach laugh and joke a bit, Schmidt suddenly turns serious) Why would you think that? That's crazy. I mean, what- NICK: Schmidt wrote the ad. JESS: Oh. I guess it was something about the words you used. It was like, er, like "sun-soaked" and "beigey". NICK: (Nick and Coach laugh more, Schmidt takes off his top) What are you doing? COACH: Wow. SCHMIDT: What about these? These look beigey to you? NICK: I'm sorry. COACH: I'm his trainer so, er, it's kind of the house that coach built right here. (Coach slaps Schmidt's abs and rubs them a bit) NICK: What are we looking at here? That's baby smooth. SCHMIDT: This is LLS. Ladies Love Schmidt. COACH: What!? What did you just say? Go put a dollar in the jar right now. (There is a jar sat on a table with the label "DOUCHEBAG JAR") SCHMIDT: Are you serious? COACH: Yeah! Now. SCHMIDT: Dammit. (He gets up and walks out of sht, putting a dollar in the douchebag jar on his way) NICK: LLS, what is wrong with you? JESS: (Now standing) This place is beautiful. It gets so much light. Spencer hated light. It's hard to say his name. SCHMIDT: It's okay. Nick knows. He got dumped. NICK: (Sniggering) Dumped. Yeah, I got dumped. FLASHBACK - A restaurant, Nick and his ex-girlfriend, Caroline are sat at a table. NICK: (With hands over his hears, shouting over Caroline) I can't hear you, that means we're not breaking up! We can't break up if I can't hear you! No! La, la, la, la, la, la, la, la! CAROLINE: (While Nick is shouting) I need a break. Yes, we're breaking up. I'm breaking up with you. I need some time away- END FLASHBACK - Back in the apartment NICK: Yeah, I got dumped. She dumped. And I'm over it. Okay, it was six months ago, guys. Get past it. I don't even know why we're still talking about it. Why's everybody looking at me? (He puts his head in his hands. Suddenly Nick, Schmidt and Coach approach Jess, who is in the kitchen now, they stand on the opposite side of a counter) JESS: You know what, I want to live here. NICK: Actually, I still have some questions. I mean, like, no offence but we barely know ya. JESS: Yeah, okay, yeah. So, um, full disclosure, I'm kind of emotional right now 'cause of the break-up so I'll probably be watching Dirty Dancing at least 6 or 7 times... a day. (Coach shakes his head slightly, looks and is disgusted) JESS: Um, I'm a teacher so I bring home a lot of popsicle sticks, stuff like that. Also, I like to sing to myself - a lot. (Singing) A lot... I'm tired of living with my friend. She's a model. All her friends are models. SCHMIDT: (Excited) Er, how soon can you move in? NICK: Actually, Schmidt, slow down. COACH: Not happening. SCHMIDT: Okay, um, can you give us a second? I've just gotta.. (Thumping his chest) I gotta talk to my boys. NICK: "My boys" is not a thing in here. SCHMIDT: My bros. NICK: Okay, Douchebag Jar. SCHMIDT: Come on, you're my bros. TIME JUMP - The apartment - Nick, Schmidt and Coach are in the bathroom talking. SCHMIDT: I'm gonna say yes. Her friends are models. Okay, you guys? Models. COACH: I say no. I need to be able to come home from work, sit on my couch, and let my beans out. Let 'em breathe. SCHMIDT: Nick, it's all you, buddy. NICK: Well, first, let me say I think you guys make some really interesting points. Points that I respect, but I will say this. I have lived with a woman, Caroline, as you guys know, and so I know that there are pros and I know that there are real cons, guys. COACH: Nick, you're weak! NICK: Okay, Pros: they smell nice. Cons: every once in a while, the mood changes and you're not sure why. They'll ruin your life if you let 'em, they'll break down your will to live. Pros: they're really good at folding. COACH: Make a decision! NICK: I'm sorry, you know what? But, like, another pro, like when you- SCHMIDT: Don't do it, put it down. Coach: Don't. NICK: I got it. (Puts a hood on and slowly pulls it over his face) SCHMIDT: Don't hood me. Please don't hood me. Okay. NICK: I know what I'm talking about. COACH: We pushed him too hard. SCHMIDT: We did push him too hard. How about this? Executive decision, she's in. JESS: (Out of sht) Yay, I'm in! (Schmidt walks over and opens the bathroom door. Jess is stood there.) JESS: You are not gonna regret this. TIME JUMP - The apartment - Jess sits alone on the floor watching Dirty Dancing, crying her eyes out, she is surrounded by used tissues and wrappers. Nick, Schmidt and Coach stare from a difference. NICK: What have you done, Schmidt? (Coach stares at Schmidt, who shrugs like whaaat?) SCENE: The apartment - Jess lies on a sofa watching Dirty Dancing, it's still quite messy around her, she's on the phone to her mother. JESS: I gotta go, mom. No, I'm not watching Dirty Dancing. (Nick enters.) JESS: No, I don't think so. (To Nick) Hey, are you gonna mrder me 'cause you're a stranger I met on the internet? NICK: Yes, I am. JESS: He says no. (Schmidt and Coach enter, they've been working out.) JESS: No, look, I gotta go, okay? Alright, love you. Bye. SCHMIDT: So the Wild West party's on Saturday. I'm trying to get us in but you may need to call Caroline. NICK: (Quickly) I'm not calling Caroline. SCHMIDT: Hear me out. (Nick shushes Schmidt and puts his hand on Schmidt's mouth.) JESS: (Singing along with Dirty Dancing) ... had the time of my life. NICK: (Pointing at Jess) We are in this situation because of you. JESS: (Jess begins punching the sofa/pillows in the background) I hate your face, Spencer, I love you! NICK: It has been a week of this madness. I am going crazy, Schmidt, I can't take it. COACH: You know what? I got this. (He walks over to Jess and sits on the coffee table opposite her) JESS: Hi, Coach. COACH: (Firmly) Stop it. Stop! (Jess starts wailing even louder than before) COACH: Schmidt! SCHMIDT: Okay. Alright. I got us into this, I'm gonna get us out. Jess, I'm gonna take the remote. (TV turning off sound) Alright. Alright, hey, Jess. (Jess just points at the TV) How you doing? (Jess shrugs like 'put the tv back on') You look fantastic. Listen, what if you came out with us tonight? You know after work. You know, we'll fix you up, we'll take you out. We'll get you a rebound. JESS: A rebound? SCHMIDT: Yeah. JESS: I don't know if I'm ready. SCHMIDT: You're totally ready for it, I'll take you through the whole thing. You know, I'll be like your guide! JESS: Like Gandalf through Middle-earth? SCHMIDT: Probably not like...okay, first of all, let's take the Lord of the Rings references, let's put 'em in a deep, dark cave, okay, where no one's gonna find them, ever. JESS: Except Smeagol, (whispering) he lives in a cave. SCHMIDT: You know what, Jess? Come on. Let's just take the head off the couch. Come on. Sit up, girl. (Jess sits up straight) Look at that, doesn't that feel good? There we go. JESS: I think that sounds nice. (Singing) She's going out to find a rebound. Who's that girl? It's Jess! NICK: Wait, did you just make up a theme song for yourself? SCHMIDT: (After some hesitation) I'm a...I'm a fix it. SCENE: Schmidt dressed in a suit is chasing Nick down the corridor of the apartment. NICK: I'm not calling my ex-girlfriend to get you into a party. (Nick is walking down the corridor with a towel over his shoulder Schmidt following behind.) SCHMIDT: This party is everything to me, please Nick. We go every year, you have no idea what I'm going through at work. FLASHBACK - Schmidt in a meeting room, addressing a table of women. SCHMIDT: (Shouting over the noise of protesting women) I am just trying to do my work. I'm just trying to do a good job, here. WOMAN: Nice tie, can I borrow a tampon? (Teasingly, laughter in the background.) FLASHBACK END - Schmidt shudders at the memory. Nick and Schmidt are in the bathroom, whilst Jess is in the shower. NICK: Schmidt, I'm not calling her. SCHMIDT: Listen to me, knowing every year that I will be going to the Waa Waa West Charity Auction for poverty reminds me that I'm still a man, and I can still motorboat a hot girl who is also a member of the Chiriquí nation, which is not rcist because it is for a good cause. JESS: (From inside the shower) Somebody's in here. SCHMIDT: We're leaving in ten minutes, did you shave your legs? JESS: I will now. SCHMIDT: Front and backs? JESS: Yes. SCHMIDT: Thank you. NICK: (Quietly) Ok, I'm gonna kll myself now. SCHMIDT: Just call Caroline, you call her all the time when you're drunk. NICK: (Feigning innocence) I don't know to what you are referring. FLASHBACK - A drunk Nick is on the sofa with a beer on the phone, leaving a drunken voicemail on her phone NICK: (In a very bad British accent, swigging beer) Hello, Caroline. I still love you, so much. (Starts to sob) So, much. (Puts his head in his hands.) FLASHBACK END - In the bathroom NICK: I'm not calling her. JESS: (Pulls back shower curtain and gets out, wearing a bright pink swimsuit) Schmidt, I know you really want to go to this party, but wouldn't it be better to find a girl who you really care about to motorboat, then maybe if you're super lucky, you find a girl who'll motorboat you right back. NICK: (Smirking) I don't think she knows what motorboating is. SCENE: Jess's bedroom - with the door open. Jess is wearing a blue robe, whilst staring at her clothe- scattered bed, deciding what to wear. SCHMIDT: (From another room) Jess, we are leaving in five. COACH: (Walks in to the room with a basketball) Hey. JESS: (Holding a curling iron in her hair, turns around) Hey Coach, wha-- COACH: (Smashes an ornament with his basketball) Sorry. Uh, my boss says that I don't know how to talk to women, which is ridiculous... FLASHBACK - Coach in a gym, with a women who is on an exercise bike, she is upset because he is shouting at her. COACH: SPIN WOMAN, SPIN! AHHHHHHH! WOMAN: I'm spinning! You are so mean! (Sobbing) COACH: I'M NOT MEAN, I'M TRYING TO HELP YOU! I'M TRYING TO HELP YOU! FLASHBACK END - Back in Jess's room COACH: So I was wondering if you could, uh, help me out with that. JESS: Sure, sure. Absolutely. (Sits down on the edge of her bed) Um, well, first of all, maybe think about what women like to talk about, you know, like, use me for practice. COACH: Alright, uh, um, (clears throat) shopping, is that fun for you guys? JESS: Yeah, shopping's fun. Uh, the other day I bought a pair of jeggings, they look like jeans but they're really leggings. COACH: Uh, uh, you-, I-. Who cares!? Sorry. JESS: (Nods) Uhm, good job. Uh, a couple of things you could work on, uh 1. Lowering your voice. COACH: Right on. JESS: Uhm, 2. Listening. (Her hair begins to smoke) 3. Rage. (Smokes a bit more.) COACH: Absolutely. JESS: Uhm, 4.-- COACH: Your hair is on fre. (She frowns at him and then glances to the side.) SCENE: In the bar, where Nick works as a bartender. He is serving the gng drink whilst they are at a table. NICK: Beers, and a rose. JESS: Pink wines makes me, slutty. (A 'cute' guy walks by) JESS: Woah, cute guy alert. (does silly stuff with her glasses whilst making noises whilst Schmidt shakes his head and Coach and Nick glance at each other) SCHMIDT: Okay, Jess, gametime. Let's do this. If you wanna forget about Spencer (she nods) you're gonna have to do some very very bad things, (points) with that man, right over there. JESS: (glances to look at the man) How bad? SCHMIDT: Real bad, Jess. Real bad. JESS: Like a, make-out sess, no tops? SCHMIDT: (Losing the will) Okay, this is what- this is what's gonna happen. You're gonna go over there and you're gonna stand next to him and you're gonna smile. (she smiles a little creepily) But, you're not gonna smile like that. (Pulls a weird kind of rabbit/chipmunk smile) That looks like a, hungry badger. Pulls the same face but tries to smile as well) COACH: Stop that. JESS: Okay, I got this, I got this. SCHMIDT: You got this. You got it. Just go make it out. COACH: Get 'em up! Ride 'em out! Go do it. Ride 'em out! Huhah! (they both stand watching as she walks up to the man) JESS: (Walks up to the side of him, pulls a pose with her hands on her hips and leans over) Hey, sailor. (He glances at her, and then looks back away) COACH: Oh. Alright. SCHMIDT: Alright. COACH: That's okay. Maybe he didn't hear that. SCHMIDT: You can come back from that. COACH: Maybe he didn't hear that. SCHMIDT: It's all good. BENJAMIN: (Noticing it was Schmidt) HOLY SCHMIDT, IT'S SCHMIDT! (Walks towards Schmidt) SCHMIDT: Oh, it is all about the Benjamin! Wassup?! (Share a man hug) Alright, P-Funk, what's up dude? This is Coach. BENJAMIN: What's up Coach? (Falters when Coach doesn't reply) You like parties? COACH: Don't talk to me. (Walks away) BENJAMIN: Yeah, okay. SCHMIDT: You know who likes to party hard, right? BENJAMIN: Yeah, so you coming on Saturday, I here there's gonna be some fine ladies there? SCHMIDT: Uh, maybe, yeah. I heard it's not gonna be that good this year. No? BENJAMIN: Are you not on the list? SCHMIDT: Man, I'm on the list, you know that. BENJAMIN: Ohhh. That sucks man. Keep your head up, alright? SCHMIDT: Alright, player. Do your thing man, it was good seeing you. Alright, man, P-Funk, always. (Walks over to the bar where, Coach, Nick and Jess are) Nick, please. NICK: (Leaning over the bar) Why are you friends with those guys? SCHMIDT: Nick, please get me in the party, I'm begging you, please. NICK: No, I'm not calling Caroline. SCHMIDT: Do you know what a cute cowboy I am? Do you have any idea? (Coach gets up and leaves) SCENE: At the bar, Jess is sitting, eating a meal with a glass of wine, talking to Nick who is working at the bar. JESS: Well, I guess I can't hide my crazy. NICK: I don't think you're trying that hard. JESS: Well, I've never been, great at this stuff, so... (bites on a celery stick) FLASHBACK - At someone's home, young Jess is sitting on a chair playing her guitar and singing to a small group of people at a party. JESS: (Singing) What if God was one of us? BOY: God, make it stop! (Puts his hands over his ears) JESS: (Singing) Just a slob like one of us? END OF FLASHBACK - At the bar, with Nick and Jess JESS: Looks at us, couple of losers, we both got dumped, jeesh. NICK: (Shaking his head) I'm fine. Six months ago so... JESS: Do you know why she dumped you? I mean she must've hurt you pretty bad.. NICK: No, no, it made no difference to me, I just wanted to set her trash cans on fre. JESS: So are you always just like wondering, like, what was it, was there something I could've done differently? (he shakes his head) Do you know what happens to people who keep it all inside? They get old, and they get sad and they get weird and then you're the old man yelling at the kids who are running across your yard and you're telling them 'Don't run across my yard, my life's full of regret'. You know, you can't just pretend like it didn't happen. NICK: Or I could pretend to be more like you, Jess, and live on a sparkly rainbow and drive a unicorn around and just sing all the time. JESS: Yeah, I think you should sing all the time. NICK: No, I was being mean, I'm not gonna do that, Jess. JESS: Why not?! It's fun! NICK: Because I have a penis, Jess. JESS: (Singing in an old man's voice) My name is Nick, I have a penis and I'm not gonna let any feelings out. NICK: (Leaning forward) Okay Jess, your left boob is resting on a plate of chicken wings. JESS: Yeah, I know. PETER: (P-FUNK) Hey, I'm Peter. What are you drinking? JESS: Oh, I'll have another pink wine. (Nick begins to walk away, taking out his phone) PETER: I like your glasses, JESS: They help me see. SCENE: At a table, Jess and Peter are chatting and laughing, being observed by Schmidt and Coach. COACH: She's doing alright. BENJAMIN: (Walking up to Schmidt and Coach) Schmidt stain! Hey man. I was thinking that it's probably best that you don't come to the party, that means more breast for me. (Laughs) SCHMIDT: (Standing up) You better step down son, you're taking this whole thing too far. Hold me back Coach, I'm seri-. Hold me back. Hold me back! Coach, would you please hold me back. NICK: (Walking up to him from the other side of the bar) Schmidt, we're going to the party, relax. BENJAMIN: Nice, see you there Schmidtty! (Walks away) SCHMIDT: Ah, totally, Broseph. NICK: Yeah I texted Caroline. COACH: You text Caroline? NICK: (Nods) It's no big deal, it's behind me. It's in the past so.. SCHMIDT: Thank you, I love you, (hugs him) very, very much. NICK: Yeah...Did you just kiss my arm a little? SCHMIDT: Yeah I did, it felt right. PETER: (Walking with Jess) So I'll see you tomorrow, sailor. (Walks away) JESS: Yeah, cool. I'll call--, cool. NICK: So what's happening tomorrow, sailor? JESS: You know what, you guys were totally right. I talked in short sentences, I didn't sing, I laughed, I smiled, I said I needed rebound sex and it totally worked. He asked me out. Dinner, with food. Oooh oooh. SCHMIDT: I'm so proud of you. (Hugs her) COACH: You got it girl. SCHMIDT: You did good. COACH: You got it down. (High fives her) JESS: (With her hands in the air) It's Jess, she's on (sings) fiiiirrreee! (Backs away at the same time, starts dancing and all the guys groan because as she turns, they notice her top is tucked in her panties) COACH: Big ass panties. NICK: Alright, shall we tell her? SCHMIDT: I'll think we'll let her have her moment. SCENE: At the apartment, Cece is sitting on the couch in a low cut dress, with all the guys staring at her, whilst she waits for Jess. CECE: Do the shoes fit , Jess? JESS: (Hears a thump) I'm okay! COACH: What are you, a model or something? CECE: Yeah. Yes. Mostly print right now... so. SCHMIDT: What is it? Cece? Cecelia? Chechelia? Tell me what are your hopes and dreams? Are you warm? I'm a little, huh, I'm a little warm right now. (Begins to take off his t-shirt) NICK: Don't, Schmidt. COACH: All right. SCHMIDT: (Finishes taking off his shirt) Oh yeah. There it is. (Breathes deeply an flexes) CECE: (Unfazed) Please put your shirt back on. Please don't make me laugh at you. SCHMIDT: Can I ht you up with some tea? A little herb tea? Ahhh. Oh my God. How good is that, for real, whaat? A little Peaman tea? Yum, right? Hot, sweet, a little teabag action. And I wasn't, I wasn't talking about... NICK: (Reaching over to grab the douchebag jar) There it is. Douchebag. CECE: Listen to me you guys, Jess is by far the best person that I know, so if you guys let anything happen to her, I'm gonna come here, and crazy mrder you. SCHMIDT: I'm gonna be honest with you. I did not hear a word you just said 'cause I can kinda see your party hats right now. NICK: (Reaching over for the jar again) Here we go. CECE: Jess! (Gets up and walks off) NICK: (Schmidt deposits another dollar into the douchebag jar) Why are you talking like this? SCENE: Opening Jess' door, Cece sees Jess, sprawled on the floor. JESS: I fell off my heels. CECE: Okay. Alright. No. Come on. (Kneels to pull Jess up) Get up. JESS: Oh, what am I doing? I can't go on a date, what if it's horrible, what if I have nothing to talk about? CECE: Then you go to the bathroom and you call me and you tell me all about it. JESS: Maybe I just shouldn't go. CECE: Babe, you got hurt, that doesn't mean you stop trying. Okay? JESS: (Mumbles something and nods) CECE: Okay. Let's go, come on. (Both stand up and look at what she's wearing) You gotta take off those overalls. JESS: I was going for, like a, like a hot farmer's daughter kinda thing, you know like. (Puts on a voice) Oh, I'm to go milk my cows, with my bucket. CECE: Take 'em off. JESS: Okay, what am I going to wear? SCENE: All the guys are sitting doing things when Cece walks out in Jess's overalls with a proud smile on her face. Nick looks up and Cece motions for Jess to appear. COACH: (Jess walks out and gets Coach and Schmidt's attention.) Wow! JESS: (Nick smiles, Jess smiles) Thanks, Coach. (Then she starts doing a rave dance with rave music.) SCHMIDT: And then she does that. JESS: I'm gonna text him, tell him I'm heading over. NICK: Wait, have you been texting him? JESS: Yeah, is that bad? NICK: (Pauses and shakes his head) No. (Smiles slightly) It's nice. Have a good night. JESS: This gonna be great. SCENE: At a very A-List club, there is really loud music and a large que of people outside, waiting to get in. SCHMIDT: Coach, you don't look anything like an Indian. COACH: Look man, I got your back, you gotta have mine too. NICK: Coach, I got your back. COACH: No, Nick. I wanna hear it from him. SCHMIDT: Coach, what sort of Indian wears bike shorts. NICK: S'cuse me, is er, Caroline, I'm looking for Caroline, we're supposed to be on some list? CAROLINE: Hey, Nick. (Waves) NICK: Sorry, I'm wearing this stupid thing. Schmidt made me do it. Thank you so much for getting us in. CAROLINE: Yeah, no problem. Um, maybe to pay me back you can stop prank calling me. NICK: What? CAROLINE: Uh, (puts on some kind of accent pretending to be Nick's voicemail) Hello Caroline, I still loves you I do. NICK: Yeah, you gotta figure that out, some crazy person's calling you. You look nice, it's good to see you. CAROLINE: Um, I think I'm almost finished out here if you, do you wanna go, grab a drink? NICK: Yeah. CAROLINE: Yeah? NICK: Sure, yeah let's, you and I just get a drink. CAROLINE: Let's get a drink. NICK: Let's be normal about it. CAROLINE: Okay. NICK: Actually, hold on, I'm sorry. I just, I have to ask you something so that, one day, I'm not an old man filled with regret, but why did you dump me? CAROLINE: Um, do, okay, are we doing this here, like now? NICK: (Sighs) Yeah, why did you dump me? CAROLINE: Um. Honestly I, I didn't even realize that you cared about me until we broke up. NICK: Okay. Let's get that drink. BENJAMIN: (In a western accent) Get along little doggy. Well howdy there, muchachos. NICK: (Walking over notices Peter) Hey, where's Jess? PETER: Oh, dude, she texted me like seven times. Like long ones. I just wanna hook up. NICK: So's she waiting for you to show up, or did you call her? PETER: Yeah, that's what I did, I called her. (Laughs with Benjamin) BENJAMIN: See you inside, Schmidt. CAROLINE: Nick, you wanna get that drink? NICK: No, I gotta go help a friend, Caroline. (Starts walking away with Coach.) SCHMIDT: (Holding up his hands in front of them) Nonononononono, guys, this is the party of the year, guys this is our night, this is our night! COACH: (They keep walking) I'm going with Nick, man, you coming? SCHMIDT: I thought you guys were my boys? NICK: You're boys is not a thing, Schmidt, stop. (starts running) We're coming Jess! SCHMIDT: (Stands there mulling it over. Sees a 'hot' Indian dressed girl waving and jumping up and down, with big boobs. Bites his knuckle, thinking about it) Uhh. (runs after them) SCENE: In the restaurant, Jess is waiting to meet Peter for her date, a waitress approaches. JESS: Do you have anything, else that is, free, but also has bread in it, because the, the like good bread I ate and uh, all that's left is a, it's like a, it's kind of like a health bread? WAITRESS: I'm sorry. We're gonna have to ask you to give up the table. JESS: Um, can I please just stay, just a little bit longer? NICK: WE'RE HERE! (Running in with the guys) Yup, we're here, Jess! We're here. SCHMIDT: We're here for the date, the date thing. WAITRESS: (Shocked) You're all here, for the date? NICK: Yeah we are. We're her boyfriends. We are reversed mormons, one man just isn't enough for her. WAITRESS: Ohhkay. (Walks away) NICK: Hey, Jess, that guys was a jerk, he's a clown. JESS: (Getting all emotional) You guys missed your party to come here and, to see me? NICK: Yeah, we uh, we care about you. We like you. JESS:That's so nice. (Sniffles) COACH: What is that? NICK: Don't start crying. COACH: Come on. JESS: (Crying) It's cool. It's very very cool. NICK: Come on, Jess, come on. COACH: Stop it! NICK: Coach, shut up. It's okay, hey, don't cry. (Singing, badly) For I've had the time of my life. (Jess looks up) COACH: What is he doing? NICK: And I've never felt this way before. Yes it's true. Na na na na na, and it's (hits Coach so he starts to sing/mumble) something something something, something something. COACH: There's bears, in my house and it goes like this. NICK: (Over Coach) And it's the something that you really really have. SCHMIDT: I'm not uh, I'm not doing any of this. (Nick hits him and he starts singing whilst the others mumble in the background) Just remember, you're the one thing, I can't get enough of. (They stop briefly and she laughs, they keep mumble singing random words getting louder, and then sing the chorus really badly.) All of them, including Jess: I've had the time of my life, and I owe it all to you. NICK: What time is it!!?? ALL OF THEM: I've had the time of my life- WAITRESS: [Walks up to them] Hey, you have to leave now, all of you! (They walk out singing really loudly, Jess grinning from ear to ear) SCENE: The gng is on the sofa, watching the end of Dirty Dancing. NICK: You're right Jess, this movie's pretty good. JESS: Seriously, thank you guys for tonight, that was really cool. SCHMIDT: Listen Jess, I know you've had a rough go with it, I just want you to know, that, I mean for me at least, no matter what, I would still totally do you. JESS: Aww, that's so sweet. SCHMIDT: Yeah, absolutely. JESS: Jar! SCHMIDT: Yeah. NICK: Yeah, jar. END	{"type": "series", "show": "New Girl", "episode": "01x01 - Pilot"}	foreverdreaming
SCENE: The loft, Jess is trotting by Schmidt's room carrying lot's of science stuff. SCHMIDT: Jess! JESS: (Stops in Schmidt's doorway) Yeah? SCHMIDT: (Pacing back and forth) Can I ask you something? JESS: You wan't my help? Sure. SCHMIDT: You consider me a sexy man, correct? JESS: I don't know how to answer that question. SCHMIDT: Okay look, I'm meeting a girl for drinks tonight, and I'm probably going to bring her back here, for sex. JESS: I have to get to school cause it's astronomy day and I'm dressing up like Galileo, so I have to put on my beard. SCHMIDT: I get that, but as a lady, where in the room do I look sexiest? You know like, like where am I best on display? Here? (Sits in armchair, legs crossed holding head) Here? (Sits on arm of armchair) Or (runs over to bed) here? (lies on bed on his side) ENTER NICK NICK: Hey, what is going on out here? JESS: Um, Schmidt wants to know where in his room he looks the sexiest. NICK: Well it's a big room. What are your choices? SCHMIDT: Ok, I'm glad you asked. Alright, (waves hand across bed) here? (runs over and sits in armchair) Here? (sits on arm of armchair again) Or here? You know, maybe just reading a book or something. NICK: It's a lot of options. Could you do them again really fast? SCHMIDT: You wanna see them again? NICK: Please. SCHMIDT: Ok. Here? Here? Here? JESS: (Smirking) Wait, what was the first one again? NICK: (Also smirking) Yeah. SCHMIDT: (Angrily) OK. I get it. All laugh at Schmidt, great. Here? Here?... OPENING CREDITS SCENE: The loft, Jess is spreading cream cheese on a bagel in the kitchen area. JESS: I'm so excited to meet him... NICK: (Walking towards her) No, Jess he's sleeping. He flew in late last night, we took him straight to the bar, took a bunch of shts, got drunk, screamed I love America. (Sits down) Now he's happily passed out. (Slurps coffee) Let's let him sleep. JESS: Guess I'm not the new kid anymore, I'm just one of the guys. NICK: You're still the new kid, Winston lived here before Coach did. JESS: (Carries on preparing breakfast) So Coach said, (sht of Schmidt walking by, taking earphones out) that they used to play basketball together at college, but then Winston went pro... SCHMIDT: In Latvia, okay? He went pro in Latvia, there's a big difference. (Nick turns around to look at him) Well the team logo, is a fig. Just a.. just a one single fig. JESS: Oh, you're jealous. (Turns around) That's so cute. (Turns back) SCHMIDT: (Smirks) Of Winston? No no no. Look, I'm not jealous of Winston. Ok, it's been two year, he's gonna have to recognize, I'm a lot flyer now. Wanna see me flex my base? (Starts to take off shirt) NICK: Naw naw naw naw. Put your shirt on. SCHMIDT: (Takes off shirt) Let me flex my base. Let me flex my base, man. NICK: Put your shirt on. SCHMIDT: Baboom. NICK: It's the morning. JESS: (Whispers whilst carrying the breakfast tray) He's gonna love it. NICK: Jess, what are you doing? (To Schmidt) What is she doing? (Jess kicks opens the door, walks in and places the tray on the floor, loud enough to wake Winston. Winston wakes with a start.) WINSTON: What the.. what the.. (points at Jess) who? JESS: I'm Jess. (Back in the kitchen) JESS: (From the kitchen you can hear her singing) I'm Jeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeessssss! WINSTON: (Shouting) What's happening?! Why are you doing that?! SCENE: Nick and Jess are in the bathroom brushing their teeth, whilst Schmidt is in the shower. JESS: I can't believe you didn't tell me he was hungover! NICK: I totally told you he was hungover. I said he was drunk at the bar and now he's passed out. (ENTER WINSTON) JESS: Hi, Winston. Hey, I apologize for what happened before... not cool, bad call. I've been talking to the guys about boundaries, so I totally get it. WINSTON: Perfectly fine, no problem. JESS: Do you have a tnk top I could borrow? You look like you're about my size. It's just that I'm really low on clothes right now cause I broke up with my boyfriend. And I caught him cheating and... I just like grabbed whatever I could and... SCHMIDT: (Steps out of the shower) Jess, you know what? I'll let you check my lost and found. It's where I keep all the things the girls leave behind in my room after we've founicate. I've got sizes 0 through 10. (Jess and Schmidt leave) WINSTON: What have you done to me Nick? NICK: I am so happy you're back. SCENE: Schmidt and Jess are sitting on the bed, with a box in front of them. JESS: (Rummaging through the box, she pulls out stiletto) You have made love to a lot of forgetful women. SCHMIDT: (Taking shoe off her) Ah man, look at these, wow. (Sees Jess taking out hair extensions from the box) Oh, look at that, Rochechana 06. Yeah, nothing orthodox about what we did that night. JESS: Winston seems nice... SCHMIDT: Did he say anything to you about the room? JESS: What room? SCHMIDT: The big room, I kinda took it from him when he left, I used to be in the small room. (Pulls out shirt from box that says 'I AM CLAIRE'.) This happened in the small room. (Looks at it) Twice. Never going back there again, Jess. SCENE: Winston and Nick are tossing a basketball back and forth between then in the main living area of the loft. NICK: He's never gonna give you that room back. Winston: Psshhhh, come on man, it's Schmidt. You know they have a saying in Latvia. 'That guy is so stupid we could easily take things away from him'. NICK: (Laughs) That's a saying? WINSTON: (Laughs) Yeah, it is. NICK: That's a weird saying. (Bounces ball and throws to Winston who sht and scores) ENTER JESS JESS: (Wearing borrowed clothes) What d'ya think? NICK: Jess, I've been telling you this for weeks but you gotta call Spencer and you gotta get your stuff back. Unless, you know, unless you're scared. JESS: No, I'm not scared, it's just complicated. That stuff was... that stuff was ours and I miss him. (Starts to get upset.) SCHMIDT: Jess, look, it's a ball. (Throws ball to Jess) JESS: Oh, a little b-ball huh, (laughs). (Whilst bouncing ball) You know, I'm actually pretty good. I used to play with my mom. (Half-singing and still bouncing ball) Defense! Defense! Watch out for the defense! Sneaky sneaky wah wah. NICK: (To Winston) You get used t`o it. JESS: Hey, Schmidt! (Bounces ball really hard in Schmidt's general direction and smashes the TV) NICK: Ah, come on! JESS: (Puts hands over her face) Uh! SCHMIDT: Wow! (Sarcastically) JESS: (Removes hands from face) Oh! (Breathes heavily) My bad! NICK: (Holding the bridge of his nose) Uuuuuuuuurgh. JESS: I'm sorry, you guys. NICK: That was my TV, Jess. SCHMIDT: Kinda all he had. JESS: I'll get you a new one I just can't it afford it right now. NICK: If ya don't mind me asking, what's the plan? WINSTON: You don't know me like that but I need a TV. NICK: Do you have a TV at Spencer's? JESS: Yeah, I do, it's just really big and thin and brea... NICK: Go get it! JESS: No, I can't, I haven't spoken to Spencer since he cheated on me with that hoe! Actually, that's not fair, she might be a really nice hoe. I just don't wanna get in a big fight with Spencer, I want to be friends with him eventually. NICK: Why do you wanna be friends with your ex? I don't wanna be friends with Caroline, and all she did was rip me open and tear out my heart out with her perfect, perfect hands. JESS: He has this power over me, like he's a wizard and I'm his mage and I think it's his hair, he has like this really beautiful hair, and whenever I see it I get the 'woowoos'. NICK: Oh my god, I hate my life! SCHMIDT: Ok guys just.. Jess look, I know, closure, ouch, am I right? JESS: I don't know at all what you're saying right now. SCHMIDT: Ok Jess, think about it... NICK: Ok Schmidt, it's not that complicated, Jess just get the TV back! WINSTON: I need a TV. NICK: It's important! It's a television! It's what brings all of.. Just get us the TV! JESS: Okay, it's not a big deal. I'll do it. I'll call Spencer, and I'll talk to him, and, I, will talk, to, him. So, yay. SCHMIDT: Yay. [JESS SITTING ON A BENCH, WATCHING SPENCER RIDING TOWARDS HER ON HIS BIKE] JESS: Hi Spencer. SPENCER: (Takes his helmet off and shakes his hair out in slo-mo, movie style) Hi, Jess-jess. [THE GUYS IN A CAFE, AT A TABLE, EATING BREAKFAST] WINSTON: Wow, I miss this place. How's your yoghurt thing, Schmidt? SCHMIDT: Oh, the parfait? It's parfait. NICK: Come on, don't... SCHMIDT: (To the hot waitress) Oh, hello. You look beautiful today. You look smart. HOT WAITRESS: Stop talking to me, Schmidt. WINSTON: So, you're making all the calls now, Schmidt? SCHMIDT: Sure... WINSTON: This must mean, you're the top dog? SCHMIDT: Yeah? WINSTON: (Exchanging glances with Nick) That's cool... SCHMIDT: You know, i'm glad you guys think that, cause... you know I think that too. WINSTON: One hundred percent, I mean, when I moved out, obviously there was a power vacuum. NICK: Yeah, I needed a leader, I didn't know which end was up. SCHMIDT: Yeah, Nick's the bottom if you know what I mean. NICK: Absolutely, say Winston, do all top dogs need the biggest room or, I dunno, is that knida cheesy, a little over kll? WINSTON: No no no no no. Though I definitely see what you're saying though, definitely. Uh, every top dog is differt, every top dog is different. Hey, Schmidt, what uh, what kind of top dog are you? SCHMIDT: ...the kind with the big room. [BACK TO JESS AND SPENCER ON THE BENCH TALKING] SPENCER: I'm so glad we're talking, last time I saw you, you were so mad. JESS: How is, um...? SPENCER: Rochelle. JESS: Rochelle...fancy name. SPENCER: She's great. JESS: Rochelle like a mermaid. SPENCER: Yeah. JESS: (Puts on weird voice and picks up parts of her hair) Hello. I'm Rochelle and I eat fish. SPENCER: Yeah, we have a lot in common, see we both love bikes... JESS: I love bikes... SPENCER: Not enough. JESS: Um, Spencer. I need my stuff back. My TV, all my winter clothes. SPENCER: Yeah, of course. I would have brought it today but I rode my bike here. You know, without the basket. JESS: Ok. Well, when will it be a good time for me to come over...? SPENCER: (Interrupting Jess and changing the subject) It's so good to see you Jess. JESS: Spencer, I really need my stuff.., SPENCER: Shuuuuuuuusshhh. I need something too. [JESS IS DRIVING ROCHELLE TO THE AIRPORT FOR SPENCER WHILST IN THE BACKGROUND 'BUST A MOVE' IS ON] ROCHELLE: Thanks for taking me to the airport, Jess. JESS: (Monotone) Of course, all you have is your bike, Rochelle. SPENCER: ht it! SPENCER AND ROCHELLE: (Singing) YOU WANT IT, YOU GOT IT, YOU WANT IT, BABY YOU GOT IT. JUST BUST A MOVE, UH. YOU WANT IT. [JESS IN A PAWN SHOP TRYING TO BARGAIN WITH THE OWNER FOR A TV] JESS: $550 for the TV? Seems a little steep. I'm gonna write down a figure and this is as high as I go. (Draws something on a piece of paper) PAWN SHOP OWNER: You drew a smiley face. JESS: I'm a teacher. Do it for the kids. PAWN SHOP OWNER: For the kids, $550. JESS: I can't go home without a TV, I thought pawn shops were about helping people and frankly, right now, I feel taken advantage of. I just got out of a long relationship and I don't know what I'm doing emotionally or lets be honest, sexually. (Picks up her bag to go) I'll just, I'll just get out of here. (Tries to steal the TV but fails miserably.) PAWN SHOP OWNER: Are you trying to rob me? [BACK IN THE LOFT, NICK IS WATCHING TV ON HIS PHONE] SCHMIDT: Hey, where's Winston, MM? NICK: Yeah, I think he's in his room, Schmidt. SCHMIDT: (Sits down) Do you really think I'm top dog? NICK: Yes SCHMIDT: Do you think I'm head baller, sht caller? NICK: Yes Schmidt, I feel that way. SCHMIDT: (Moves next to Nick) You see that man? It's my new thumb ring. Hot choice is that. Little skull. It's so nectar. NICK: Did you just make up nectar? SCHMIDT: Nah, it's a volleyball term. What is Winston doing in there? He can't hang out in there, it's too small. [ENTER JESS AND CECE] NICK: What's up? SCHMIDT: Yo, what up, Cec? NICK: You alright? JESS: I'm sorry, I didn't get the TV. SCHMIDT: What happened? CECE: Urgh, terrible roommates. I mean seriously, you guys told her to call Spencer? That is not your job, that is my job! NICK: Alright, so what happened? JESS: Urgh, he needed a ride to the airport. NICK: What?! JESS: For his new girlfriend. NICK: Are you kidding me?! SCHMIDT: Are you serious? CECE: What? You didn't tell me that! JESS: And, I'm supposed to pick her up next Sunday. NICK: OMG Jess! SCHMIDT: Wow. JESS: What's wrong with me? NICK: I figured it out. This guy is your kryptonite. You need to stand up and you need to fight him. JESS: I want to fight him but I can't. I'm powerless. NICK: Cause you're not ready to let him go. I think you know, deep down, once you get your stuff back, you know, it's over over. CECE: I can't believe I'm actually gonna say this, but, I agree with him. JESS: No, you guys are wrong. I really, I really wanna move on. NICK: Then you gotta fight. JESS: Alright, I wanna fight. NICK: Then get mad! JESS: I wanna get mad! NICK: (Stands up and pick up cushion from sofa) Alright, then do this. Pretend this is Spencer's face. Punch it. (Jess prepares herself for a showdown with the cushion) Get. (Punches cushion) Come on, do it again. (Punches a little harder) Alright, punch it like a man. (Punches a little harder.) Harder than that! (Punches harder) CECE: Come on, Jess. NICK: Come on Jess, get angry. (Punch) Good! CECE: (Punch) Get angry. (Punch) Get real angry. NICK: (Starts punch dancing) That's dancing. That's punch dancing. He broke your heart! He did terrible things to you, you hate him. JESS: (Still punching) I'm mad! NICK: Good. CECE: There you go. NICK: Good. JESS: I'm bad! NICK: You're ready, go get your stuff. JESS: (Starts walking towards the door) I'm gonna go get my stuff! NICK: Go get it. SCHMIDT: Go on, Jess. JESS: I'm really mad! NICK: I'm proud of you. JESS: I'm gonna go get it! NICK: Go get your stuff. JESS: I'm gonna face the facts! I'm gonna ask you guys, right now, to come with me. Seriously guys, cause I can't everything alone and I can't be alone. [THE WHOLE gng ARE IN THE CAR WITH JESS AT THE WHEEL TO GO GET JESS' STUFF. SHE IS DRIVING REALLY FAST AND HAD VERY LOUD MUSIC ON IN THE CAR.] JESS: Yeah! Loud music! Loud. Loud. Loud. WINSTON: Ok, you're ruining my pre-game mence. JESS: What am I gonna say? NICK: Hey Spencer, give me my TV back. JESS: Hi Spencer, give me my TV back, buddy. NICK: Hey, no buddy. How about jerk or idiot. JESS: Mr. Crabs. WINSTON: Mr. Crabs is an option. CECE: (To Schmidt) Your hand is on my leg. SCHMIDT: Your hand's on my leg. CECE: No, it really isn't. SCHMIDT: Classic he said, she said. CECE: Ok, Jess, just pull over right here. (Jess almost stops but at the last second steps on the gas again and drives off) Woah! JESS: Ok, you know what, just one more sht. NICK: Ok, one more time around Jess, and then we're good. You got this. JESS: Yeah. (Tries to pull up again but carries on driving again) SCHMIDT: Really? Come on. JESS: Just one more time, gonna... (breathes) NICK: Alright, this is the time, this is the time. Wow. CECE: Woah! JESS: Ok one more sht, one more sht, just one more, just one more. SCHMIDT: (To Winston) You know I'm onto you. WINSTON: What do you mean? SCHMIDT: You told me that I'm top dog but secretly you think that you're top dog. Alright, now you are just trying to out top dog the top dog. CECE: Jess, can you please take these doors off child lock so I can kll myself. SCHMIDT: Men are working. Look things are different now man, you're not top dog anymore. I am. WINSTON: Okay, you know what you are absolutely correct you are the top dog. (Puts hand up to head as if taking off imaginary crown) Here. (Puts it on Schmidt) SCHMIDT: (Taking off the imaginary crown) What are you doing? There is no top dog crown. Are you trying to make me look stupid. Look man, this is about respect, I'm a lot flyer than I used to be. WINSTON: Yeah, much flyer, I respect you Schmidt. SCHMIDT: No, you don't because if you had, you would have told me that the (song changes to a more calm love song) small room is the top dog room. (Jess begins to slow down) JESS: (Singing along) WINSTON: What? I own this song. JESS: (Still singing) YOU GO AND SAVE THE BEST FOR LAST (Finally pulls up out side Spencer's house) SCHMIDT: What's happening? WINSTON: What's happening if that is a great song. JESS: (Gets out of car and walks towards the house) CECE: I'll be out here if you need me, Jess. (Jess rings the doorbell continuously until it opens) SPENCER: Hi, Jess-jess. NICK: That's the wizard? He's wearing a scrunchie. WINSTON: It looks like he juggles clubs on the beach. CECE: Yeah, like he'd ever have a job. SCHMIDT: Didn't you just kinda assume he'd have a handlebar moustache. NICK: Come on Jess, just go in there and get that TV. SPENCER: (Pulls Jess into a hug) I missed you Jess. CECE: Don't hug him back... (Jess hugs him back) ALL IN CAR GROAN SCHMIDT: Ugh. That's not healthy. JESS: (Notices withered plants) I told you to water the plants! (Pulls away from hug) SPENCER: Huh? Oh, you know that's not my thing. (Tries to hug her back but she pushes him away) JESS: I told you to water the plants. (Pick up flowerpot and throws it onto the lawn, smashing) ARRRRGGGHHHH! NICK: What is she doing? ALL: OHHH!! SCHMIDT: What a mess. JESS: ARGGGHHHH! I'M GOING IN!! (Runs into house) SPENCER: Jess, take your shoes off, we keep an Asian household. (Runs after her) WINSTON: Didn't see that coming. NICK: Is she gonna be ok in there? [A LOT OF CRASHING AND BANGING] JESS: (Stumbles out of the house wearing tons of clothes and carrying bags and the TV) I got it! It's really heavy, but I got it! SCHMIDT: Oh my God, we created a monster. NICK: She looks like hell in bmb crudder. WINSTON: Oh guys, she's gonna drop. uh Jess, soft hands Jess. SPENCER: (Comes running out after her) Come on Jess. we'll share, you know, work out a system. JESS: (Turns around and notices she is wearing her shirt) Hey, hey. That's my shirt. SPENCER: No, this is my t-shirt. JESS: No, that is my shirt. It has my name on it. (Wobbles around) WINSTON: Don't drop it, Jess, don't, don't drop it, don't... CECE: Come on, everybody out. Now! (All rush out of car) ALL: Nonononono!!! (Jess drops the TV and it makes an unsatisfying sound) JESS: Give me my shirt! (attcks Spencer) NICK: (Runs over and grabs hold of Jess) Hey Jess, nonononono, stop stop, sorry don't mind her we're just here for the TV. SPENCER: Who are these guys? JESS: They are my room-mates. SPENCER: Cece! Hi. CECE: (Walking towards the house) I gotta go in and get the rest of your stuff, Jess. SPENCER: (To Cece) Hey. (To Jess) Let's just talk about this, okay, rap it out. JESS: No! We can't rap it out, we're not together anymore, it's not the same. SPENCER: Doesn't mean we can't talk about things. JESS: There's nothing to talk about. Give me my shirt back. SPENCER: No, you gave this to me, I want to keep it. NICK: Give her, her t-shirt, man. SPENCER: No, I don't want to, you know and I gave her this hat too so I'm going to take it back. (Bends down to reach for a red hat) NICK: You mean this one? (Picks it up and waves it in front of Spencer) SPENCER: Yeah. (Reaches for hat) NICK: You want that? (Carries on waving it) SPENCER: Yeah. NICK: (Puts on hat) Then I dare you, come take it off my head, pal. (Long pause whilst they all glare at Spencer) I dare you! SCHMIDT: (Walks over and outs another hat on) WINSTON: You guys looks ridiculous. (Smirks) NICK: Look dude, give her the shirt back, (motions at shirt) I bet she worked hard on that 'JAM-boree'. JESS: Yeah. Play on words. Jam. Boree. Jam! NICK AND SCHMIDT: Jam! SCHMIDT: We all made a lot of jam, Spence. You know how time consuming that can be? You need a jar funnel, a canner, some fresh fruit; strawberries, raspberries, maybe a tayberry, maybe a ripe... NICK: No more fruit. SPENCER: You live with these people Jess?! Seriously?! You can stay here until you can find a better place to live. NICK: You know what, I don't like you stretch. I don't like anything about you. And I'm not afraid to... JESS: (Touches Nicks shoulder, to Nick) I got this. (To Spencer) I've got a place to live, Spence. It's over. I spent six year trying to figure you out. All you are is a guy with really beautiful hair. I'm happy you cheated on me, thank you. Because if you hadn't, I would have ended up marrying you and then you would have hurt me all over again. (Sigh) And yeah, I was scared to start over, I didn't know what to do. And yeah, I'm living with three guys I met on the internet. And yeah, stranger danger is real, but I love these guys, I barely know them, I just met him, but I love them. All of them! GUYS: Just take it easy on the love stuff... WINSTON: (Bends down to pick up a hat) Give her the shirt back, man. (Puts hat on) SPENCER: What happens if I say no? SCHMIDT: You know what happens? Schmidt happens! (Slaps Spencer) SPENCER: Ow. What's on your hand? SCHMIDT: Thumb ring, bitch! You got some Schmidt on your face! CECE: (Walks out with some more of her stuff, including her bike) SPENCER: You know what, fine, here, take it. (Takes off shirt) CECE: (Walks by him) Keep the bell. (Chucks bell at him) SPENCER: You know, I thought we were going to handle this like adults, Jess. JESS: Yeah well, I though you were the love of my life, so... (sht of the guys watching her from in front of the car with her stuff) Suck it, Mr. Crabs! (Walks back to the car where they all pat her on the back) [WINSTON AND SCHMIDT CARRYING SOME OF JESS' STUFF AND WALKING THROUGH THE BUILDING] WINSTON: I do hate that guy. SCHMIDT: (Shrugs shoulders) Whatevs, you know. WINSTON: (Laughs) You know what? Maybe I didn't have respect for you before, because, if this is what respecting you feels like, this is definitely not how I felt. (Stops in Jess' room and start putting stuff down) SCHMIDT: So you recognize? Represent, what. WINSTON: Okay, look, I'm gonna be completely honest, I've been messing with you, but it's just that I wanted my old room back. You know, you're right, I've been away a long time and things have changed around here so I kind of got to get used to that. Keep the big room. SCHMIDT: So now you're just deep dogging me, man. I'm not scared of your mind games, I'm taking the small room, Winston. WINSTON: Schmidt, that's not what I mean... SCHMIDT: No no no no no. Why don't you listen to me. You can double reverse dog me until the cows come home. I'm not falling for it. What do you take me for? Some kind of idiot? WINSTON: (Behind Schmidt's back - a yeah! action.) EVERYONE IS IN THE LIVING ROOM, NICK IS TRYING TO TAPE UP THE TV JESS: I can't believe I got all my stuff back. NICK: You did, but most of it's broken. JESS: Yeah it's broken, but, I don't know, it's mine. NICK: Yeah, but it's broken. (TV makes a beep sound) Hey! Look at that. JESS: Oh my God. NICK: I think it's working. JESS: Oh my God! NICK: We got a TV again. (High fives her) JESS: It's a TV and it's working. NICK: Hey, we got the TV back. (Sits down with Jess) Alright. (Winston comes and sits down) JESS: You guys are awesome. I'm gonna make you so much jam. NICK: Please don't. (Schmidt sits down) JESS: We're gonna have a jam sess. NICK: Absolutely not. (TV falls to the side and they all turn their heads) Okay, what are we watching? JESS: I have some DVDs. Um, Adventures of Babysitting, Prancer, Noosies, Curly Sue. WINSTON: I'm going out. (All the guys get up) JESS: Wait, where are you guys going? These are heart-warming films. SCHMIDT: (Comes running back in) Curly Sue, let's do this. JESS: Alright, lemme go get it. END	{"type": "series", "show": "New Girl", "episode": "01x02 - Kryptonite"}	foreverdreaming

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