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 killer, 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 killed 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 killed 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 shot by a terrorist. 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, Gunny? 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 prostitute. 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 dead 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 shooting 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 prostitute 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. (BEAT) 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 executed.
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 killed. Now, Boone has admitted to killing 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 kill.
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 killed 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 dead 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! (BEAT) I mean, very Special Agent McGee.
MCGEE: Probable site where the victims were tortured, killed, 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 TORTURE 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 dead 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. Dead less than a week. She has Boone’s mark on her back. I think we’re definitely dealing with a copycat killer.
(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. (BEAT) 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 threat. 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 dead 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 killer. 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 hit you in the head with a shovel, my dear.
CASSIDY: Did you kill 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 knife-- !
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 beat you!
(SFX: GUN CLICKS)
KYLE: You’re supposed to shoot me, you idiot!
GIBBS: That the big plan you spent ten years working on? Get me to murder 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 kill me now. I’m the only one who can identify the killer. 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 dead.
GIBBS: Enjoy hell.
KYLE: (SCREAMS) No! No! No!
(FADE OUT)
(ENDING CREDITS UP AND OUT)
(ENDING CREDITS AND OUT)
* * * * * * * *
Prepared by C.C. Printed in USA
Calvert Continuities Aired 10/11/05
