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 sniper’s nest, Boss. Didn’t police his brass.
(SCENE CUT)
KATE: I’m dead now, Ducky. Shouldn’t be. I could have killed 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 kill 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
“KILL ARI (PART II)”
GERALD: You shouldn’t have come, Doctor.
DUCKY: Couldn’t let the bastard put a bullet 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 shot.
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 dead 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.(BEAT) 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 bullet for you.
GIBBS: He won’t kill 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 kill 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 dead, 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 shotgun.
MCGEE: Bubba?
ABBY: Ah, best damn coon 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 beat that into me.
GIBBS: (INTO PHONE) Haven’t I beat 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 weapon 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 kill 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 killer.
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. (BEAT) Toda.
TONY: Prego.
ZIVA: I lost my little sister, Tali, in a Hamas suicide bombing. 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 sniper nest was?
MCGEE: It is. Ari’s not there.
ABBY: What do you expect? A video of him shooting?
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 suicide bombers will not be blowing 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 sniper?
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) Shooter!
(SFX: GUNSHOT/ GLASS BREAKS)
GIBBS: Stay down!
(SFX: GUNSHOTS)
(SFX: GLASS BREAKS)
(MUSIC OVER ACTION)
(SFX: GUNFIRE)
SHEPARD: I expected Haswari to be older.
GIBBS: He is.
(MUSIC OUT)
MUSIC IN:
INT. AUTOPSY ROOM - DAY
DUCKY: (V.O.) Gunshot number three is located under the right clavicle. Appears to be a distant wound from the absence of sooting and stippling. Gunshot 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 shooting to kill 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 shot 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 shooting came from this Bravo Fifty-One rifle dropped by the sniper you shot last night.
DISSOLVE TO:
INT. SQUAD ROOM – NIGHT
TONY: (OVERLAP) …Two years ago. Mohamed Esfiri was a homegrown terrorist. 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 sniper rifle we recovered last night was the weapon used to murder Special Agent Todd, and with no evidence to the contrary, it appears that Mohamed Esfiri was the sniper. 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 kill Kate. He didn’t shoot at Abby.
SHEPARD: You are not infallible, Jethro, no matter what your gut is telling you. Ari isn’t trying to kill you, but this obsession might.
GIBBS: Hey, Jen?
SHEPARD: What?
GIBBS: Why did he only shoot at your side of the car last night?
SHEPARD: I suppose you were right. He was trying to kill 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 kill.
SHEPARD: No. No one’s going to do that.
GIBBS: Come on, Jen. Hamas suicide bombers 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: Kill 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 Dead.
MCGEE: I did not.
TONY: Don’t lie to the dead, 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 weapon before it’s used by terrorists. 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 bomb?
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 sniper’s brass is like signing your signature. That’s why a sniper always polices his brass. Lapua. Three oh eight casing. Boat-tail. Moly-coated full metal jacket bullet.
ZIVA: That’s what you shot as a Marine sniper. At Mossad we use Sierra Six point five hollow points.
GIBBS: How do you know what I shot, 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 shooting at women then, don’t we?
ZIVA: If he wanted you to know he is the sniper, why didn’t he use your rifle? An M-Forty?
GIBBS: The Bravo Fifty-one he fired is called a “Kate!”
ZIVA: I still don’t believe Ari is the sniper. 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 threatening 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 kill?
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 shoot 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 killed, I had no trouble joining the Iz Adin al-Kassam.
GIBBS: You don’t really believe your father had your mother killed?
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 suicide with your own rifle. 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 kill me to taste the sweetness of revenge.
GIBBS: I’ve killed enough men in my life, Ari. It’s going to be just sweet watching you die.
ARI: Sorry to spoil your--
(SFX: GUNSHOT)
(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)
* * * * * * * *
Prepared by C.C. Printed in USA
Calvert Continuities Aired 9/27/05
![Tony/Ziva ~ Follow me down [3x02]](https://img.youtube.com/vi/0Uwp8iC2qbg/mqdefault.jpg)
