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NCIS
#202 : Pour le meilleur et pour...

 
Synopsis: Des ouvriers du bâtiment travaillant sur une base abandonnée trouvent un tunnel, à la fin duquel est découvert le cadavre d'une femme dans un sac. On apprend qu'elle venait d'être enlevée auparavant. Quatre autres filles semblent elles aussi avoir disparues...

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4 - 3 votes

Titre VO
The Good Wives Club

Titre VF
Pour le meilleur et pour...

Première diffusion
05.10.2004

Première diffusion en France
02.09.2005

Vidéos

Trailer 2.02 VOSTF

Trailer 2.02 VOSTF

  

Plus de détails

Réalisateur : Dennis Smith
Scénario : Gil Grant 

 

Kate Hodge (Jane Melankovic)

Betsy Brandt (Quartier-maître Barbara Swain)

Tara Buck (Quartier-maître Debra Marshall)

Blayne Weaver (Quartier-maître Darell Baum)

Michael Canaan (Député)

Kendall Clement (Contremaître)

Matthew Carmody (Lieutenant aumônier J.G. Brett Evans)

Gerard O'Donnell (Capitaine de corvette Scott Williams)

Spenser Garett (Commandant Spenser)



NAVY NCIS
Production 0025

“The Good Wives Club”

 


      
 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 dead 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.  (BEAT)  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. (BEAT) 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 dead 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 killer.    
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.  (BEAT)  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 BEAT)  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 hit 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 dead.    
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 shoot!  Don’t shoot!  Please don’t shoot!    
     
  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.)  Shot 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 murderer …    
     
  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 murder/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: GUNSHOT)   
     
  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 ammo dumps in this quadrant, abandoned ammo 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 BEAT)    
  (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 ammo bunker.    
     
  CUT TO:     
     
 EXT. AMMO BUNKER – DAY     
     
  (SFX: CAR BRAKES TO A STOP)
(SFX: CAR DOORS OPEN/ CLOSE) 

 
SPENCER: You’re right, Gibbs.  These ammo 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 dead.  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 dead?    
GIBBS: Put the gun 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)   
     
   
 
* * * * * * * *


Prepared by C.C.   Printed in USA
Calvert Continuities   Aired 10/5/04





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