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NCIS
#318 : Bombe humaine

Synopsis: Gibbs et son équipe sont appelés en urgence au lycée de Quantico, où un jeune garçon âgé de dix-sept ans tient des camarades en otages. Il s'est attaché une bombe autour de la taille et Gibbs essaie d'entrer en contact avec lui pendant que Tony tente de passer à l'action ! Gibbs se rend bien vite compte que l'adolescent est manipulé de l'extérieur.

Popularité


4 - 4 votes

Titre VO
Bait

Titre VF
Bombe humaine

Première diffusion
14.03.2006

Première diffusion en France
15.12.2006

Vidéos

NCIS 3x18 Slap

NCIS 3x18 Slap

  

Plus de détails

Scénariste : Laurence Walsh
Réalisateur : Terrence O'Hara

MUSIC IN:    

     
 EXT. SCHOOL – DAY     
     
JOE: Hey!  Hey!  You got a problem with living?  Uh-oh, you feeling frisky today, Meyers?  Make your move.  I’m begging you.      
  (SFX: BELL RINGS)   
JOE: I didn’t think so.    
     
  CUT TO:     
     
 INT. CLASS ROOM – DAY     
     
NADIA: Kody, are you okay?    
JOE: Oh look, he’s following me.  I think he’s in love.    
  (MUSIC OVER ACTION/GIRL RUNS FROM THE CLASSROOM)    
  (DOOR CLOSES)   
KODY: No one else leaves!  (SHOUTS)  Okay?!    
     
  (FADE OUT)   
   

 
  (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT)   
     
 FADE IN:    
     
 EXT. SCHOOL – DAY     
     
 “BAIT”    
  (SIRENS/CROWD SOUNDS)   
TONY: Gibbs is already on the scene.  You two follow my lead.  It’s not my first time at this particular kind of dance.    
ZIVA: Yeah, I’ve been through a few myself, Tony.    
MCGEE: Well, you know what?  I’ve played “Counter Strike” online.  It’s pretty realistic.    
TONY: Well, you only get one life here, Elf Lord.    
GIBBS: The kid’s in a classroom in the south wing.  SRT’s set up a command post in the east wing.  McGee, Ziva, recon the exterior.  Put the gear down.  DiNozzo.  With me.    
TONY: On your six, Boss!    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
WISE: Target’s name is Kody Meyers, fifteen years old.  According to the witness, he came to class with a bomb strapped to his chest.  We set a perimeter outside the classroom.  Evacuated all nonessentials.  EOD’s on site sweeping for secondaries.    
TONY: How many hostages?  

 
WISE: Four, maybe five.  My men are doing a head count on the student body.    
GIBBS: The witness describe the device?    
WISE: She was rushed to emergency.  Being treated for a panic attack.    
GIBBS: DiNozzo, find out who Kody Meyers is.  Get his parents in here.    
MCGEE: On it.    
GIBBS: He try to make contact yet?    
WISE: No, Sir.  Not a word.  We didn’t try to establish communication.  We figured that was your job.    
     
  CUT TO:     
     
 EXT. HIGH SCHOOL – DAY     
     
  (MUSIC OVER ACTION)    
MCGEE: Ziva!  Ziva!    
ZIVA: I am here!  We need to be stealthy.    
  (MUSIC OVER ACTION)    
  (SFX: MCGEE’S SHOES SQUEAK LOUDLY)   
     
MCGEE: New shoes.    
ZIVA: I’m going to that transformer.      
MCGEE: Okay.    
ZIVA: I meant alone.    
MCGEE: Gotcha.    
  (MUSIC OVER ACTION)    
  (F/X: ZIVA RUNS TO THE SIDE OF THE BUILDING)
(SFX: ZIVA TAKES PICTURES)   
ZIVA: Come on, boy.  Show me your bomb.    
  (MUSIC OVER ACTION/STUDENTS CLOSE THE BLINDS)   
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
     
STEPHANIE: It’s okay. (SFX: NADIA GASPS FOR BREATH)   
KODY: Stop doing that!    
NADIA: (GASPS)  I… can’t… help… it.    
KODY: You’ve got to try!  What?  What?  What’s wrong with her?    
STEPHANIE: She has asthma, Kody.    
KODY: W-What does she need?  Water or something?    
STEPHANIE: She needs her inhaler.    
KODY: It’s not here.  Where is it?    
STEPHANIE: (GASPS)  Locker.    
     
  CUT TO:     
     
 INT. HALLWAY – DAY     
     
WISE: Classroom is around the corner, second door on the right.  The rooms can only be locked with a faculty key.  Kody wouldn’t have access.  My tac team is ready to go.  Snipers are moving into position outside, if you want to take him down.    
GIBBS: Any other way into the room?  

 
WISE: One door and a wall of windows.  Blueprints are on the way so we can check for ducts.    
TONY: (WHISPERS)  Boss!  Sorry.    
  (TONY WALKS TO GIBBS)   
TONY: I found Kody’s father.  He was at a conference in Washington D.C.  MPs are escorting him now.  I just thought you’d want to know before you go in there.  I’ll head back now.    
GIBBS: Kody Meyers!    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
GIBBS: (MUFFLED)  Special Agent Gibbs, NCIS.  Kody!    
KODY: Get away from the door!    
     
  CUT TO:     
     
 INT. HALLWAY    
     
GIBBS: Talk to me first.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: (YELLS)  Get away from the door or I… I blow this thing!    
     
  CUT TO:     
   

 
 INT. HALLWAY – DAY     
     
GIBBS: All right.      
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: I’m sending someone out.  (TO STEPHANIE)  Make sure you’re the one who brings it back, okay? (NADIA GASPS)   
     
  CUT TO:     
     
 INT. HALLWAY – DAY     
     
STEPHANIE: (V.O.)  I’m coming out!    
GIBBS: Debrief her.    
TONY: It’s okay. (DOOR CLOSES)   
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
STEPHANIE: I need to get Nadia’s inhaler.    
TONY: We’re getting it.    
STEPHANIE: She needs it!    
TONY: I know, that’s what we’re doing.    
STEPHANIE: She can’t breathe!    
TONY: Stephanie, we’re getting it from her locker, okay?  Tell me what happened.    
STEPHANIE: I was in homeroom and I heard Joe messing with Kody.  And then all of a sudden it got really quiet.  And I looked up and Kody unzipped his sweatshirt.  (CRIES)  And he had a bomb!  

 
TONY: Okay, what kind of bomb?    
STEPHANIE: (CRIES)  Like in the movies!  It was strapped to his chest!    
TONY: Okay, that’s really good, Stephanie. Was he calm?    
STEPHANIE: He was acting really weird.  He’d… he was talking to himself.      
TONY: Okay.    
STEPHANIE: What about Nadia?    
TONY: We’re helping her.  That’s what we’re doing right now.  Okay, all right.  I know this is hard.  Stephanie, I need you to hold it together.  Can you do that?  Okay.  Tell me a little bit about Kody.    
STEPHANIE: He transferred this year.  He’s like a loner.  The football players, they’d screw with him.  But they screw with everyone.      
TONY: Okay.    
STEPHANIE: Oh my god!  Is that what this is about?    
TONY: Could be.    
STEPHANIE: (CRYING)  He’s going to blow everyone up!    
GIBBS: No he’s not.  Stephanie, it’s going to be okay.      
MCGEE: Boss, I got the inhaler.    
GIBBS: See?    
STEPHANIE: I have to take it to her!  That’s what he said.  He said I have to get the inhaler and I have to bring it back to her.    
GIBBS: We’ll take it to her.    
STEPHANIE: She needs it!    
GIBBS: Okay, calm down.  DiNozzo, get her a drink.    
TONY: You got it.    
GIBBS: Okay,     
  (MUSIC OVER ACTION/TONY WALKS O.S.) 

 
MCGEE: Boss, you’re not going to really send her back in there, are you?  Of course not.  You’ve got a plan.  What exactly--    
GIBBS: Got background on Kody yet?    
MCGEE: I do.  Searched the school records.  He’s an average student, member of the chess club.  He’s also a junior U.N.    
GIBBS: Background is useful, McGee.    
MCGEE: Well, we’ve got a team right now at Kody’s house collecting his computer, personal effects, to transport back to Abby’s lab.  I’m going to go back there and supervise.  Okay.    
     
  (PASSAGE OF TIME)   
     
GIBBS: What is this?  Robby the Robot?    
WISE: Sort of.  It can climb stairs, negotiate corners, unlock doors.    
ZIVA: Impressive.  Will it convince Kody to surrender?    
WISE: No.  But it will deliver the inhaler to the sick student without endangering anybody else.  And its camera might get a video of the bomb.    
GIBBS: I don’t trust anything controlled by a videogame thing.    
WISE: I’ve seen one of these cross a minefield while under heavy fire in Iraq, Agent Gibbs.    
GIBBS: How long until this P.O.C. is ready, Captain?    
WISE: There’s a problem with the software, just have to run a quick diagnostic and… twenty minutes?    
GIBBS: We don’t have twenty minutes.  Ziva, tell Tony channel two.    
ZIVA: Channel two.    
     
  CUT TO:     
     
 INT. HALLWAY – DAY     
     
  (MUSIC OVER ACTION/GIBBS WALKS TO THE CLASSROOM)   
     
  CUT TO:     
     
 INT. CLASSROOM – DAY     
     
  (DOOR OPENS)   
  (SFX: NADIA GASPS FOR BREATH)   
     
  (MUSIC OUT)   
     
 MUSIC IN:    
     
 INT. CLASS ROOM - DAY     
     
  (NADAI GASPS FOR AIR B.G.)   
KODY: What the hell are you doing here?    
GIBBS: Nadia’s inhaler.    
KODY: Stephanie was supposed to bring it!  Where’s Stephanie?    
GIBBS: Safe.    
KODY: No!  This is all wrong.    
GIBBS: Give this to Nadia.  I’ll make it right.    
KODY: I’m in charge here!  Not you!    
GIBBS: You’re in charge, Kody.    
KODY: Get Stephanie back in here!    
GIBBS: I’m not going to do that.    
KODY: You’re killing everyone!  

 
GIBBS: I’m not the one wearing the bomb.  I am giving this inhaler to Nadia now.    
  (SFX: NADIA USES THE INHALER)
(SFX: NADIA BREATHES)   
GIBBS: (TO NADIA)  Better?    
KODY: She’s fine now, get out!    
GIBBS: I’m a valuable hostage, Kody.    
KODY: More valuable than a room full of kids?  (SHOUTS) Get out now or we all die!!!    
GIBBS: You’re surrounded by Marines who all think you’re crazy.  Kody, I’m the last chance you have of getting out of here alive.       
KODY: Shut the door!  Search him.  Like they do on Cops!  Empty his pockets!    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
ZIVA: Now I know why Gibbs didn’t go armed.  Where’s Stephanie?    
TONY: With her folks.    
KODY: (V.O./FILTERED)  Check his ankles!      
TONY: This kid is pretty smart.    
ZIVA: He’s not just smart.  He’s trained.    
KODY: (V.O./FILTERED)  Put everything you find on the desk.    
ZIVA: This could be a political statement.    
KODY: (V.O./FILTERED)  Come on!    
TONY: He’s a fifteen year old kid.    
ZIVA: Well I’ve seen twelve year old suicide bombers in Israel.    
TONY: He’s not a terrorist.  

 
ZIVA: Well then he’s obviously mentally disturbed.  And if that’s the case, well, I think--    
TONY: I know, that’s not good.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
JOE: He’s clean, Kody.    
KODY: Check his ears!    
JOE: For what?    
KODY: Do it!    
JOE: The guy’s wearing some sort of hearing aide.    
KODY: Take it out.  Check his wrists.  Step on both of them.    
  (SFX: CRUNCH)   
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
ZIVA: He is very well trained.    
TONY: We need eyes in that classroom.    
ZIVA: SRT snaked cameras through the vents here and here.  Both were taped shut.  Kody was covering his plates.    
TONY: Bases.  What about that door?    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: Now make sure you cover every crack!       
JOE: (V.O.)  Okay, I’m on it.    
KODY: You have no idea what you’re dealing with here.    
     
  CUT TO:     
     
 INT. LAB – DAY     
     
MCGEE: I think it’s safe to say that Kody’s got some suicidal tendencies.  You should see his webpage.  It’s all about death and dying.  The kid is obsessed.    
ABBY: So what’s your point?    
MCGEE: My point is he finally worked up the nerve to do something about it.    
ABBY: It’s not the kids that talk about dying that you have to worry about, Timmy.  It’s the ones who stay quiet.    
MCGEE: Abby, I’ve been in this kid’s room, okay?  It’s all black.  It’s got skulls everywhere.  He listens to death metal.      
ABBY: Oh.    
MCGEE: There is nothing wrong with those things if you are an adult.    
ABBY: McGee, you slaughter people online.  Are you going to become a mass murderer?    
MCGEE: I did not take my classroom hostage.    
ABBY: Yeah.  Did you ever think about it?  You said the bomb sniffing dogs didn’t alert to anything in Kody’s house.  I haven’t found explosive markers on any of his clothing or his effects.  He didn’t visit any bomb-making websites.  And these photos… they show us nothing.  Maybe his bomb is fake?    
MCGEE: Do you believe that?    
ABBY: No.    
     
  CUT TO:     
   

 
 INT. CLASS ROOM - DAY     
     
GIBBS: We can end this now, Kody.  Tell me what you want.  I’ll get it for you.    
KODY: I’m not making demands until I speak to a negotiator.    
GIBBS: I am the negotiator.    
KODY: They wouldn’t send the negotiator busting through the door.  I’m not stupid.    
GIBBS: No one says you are.    
KODY: Just be quiet!  Hurry up!    
GIBBS: Relax, Kody.    
KODY: (SHOUTS)  Stop saying my name!  You know, you’re not gonna build a relationship with me.  So keep talking and I really will end this now!    
  (SFX: NADIA SOBS B.G.)   
KODY: Nadia.  Nadia, you have to stop that, please.  Please?    
NADIA: Can’t… I can’t.    
GIBBS: She’s scared, Kody.    
KODY: Yeah, like she’s the only one.    
GIBBS: You’re right.  We’re all scared.  They just want to go home and see their parents.    
KODY: See, you’re expecting me to identify with them, huh?  See them as people, so it’ll make it harder for me to do anything.    
GIBBS: They are people, Kody.    
KODY: (SHOUTS)  Stop saying my name!  One more word… and I press this button.    
     
  CUT TO:     
   

 
 INT. SHEPARD’S OFFICE – DAY     
     
  (KNOCK ON DOOR)    
CYNTHIA: Director Shepard, Doctor Mallard is here to see you.    
SHEPARD: Send him in, Cynthia.    
DUCKY: Anything new?    
SHEPARD: I just got off the phone with DiNozzo.  Still no contact.    
DUCKY: What exactly happened?    
SHEPARD: Jethro happened, Ducky.  He went in to deliver a sick girl’s inhaler, and got invited to stay.    
DUCKY: Yeah, but how could he—of course.  He probably planned the whole thing.    
SHEPARD: Jethro doesn’t plan, Ducky.  He follows his damn gut.    
DUCKY: Well, it usually serves him well.    
SHEPARD: It also gets him into trouble.      
DUCKY: You would only be a hindrance down there.    
SHEPARD: What makes you think…?     
DUCKY: You’re wearing your sidearm.    
SHEPARD: Gibbs was my partner, Ducky.  For a long time.  I cannot just sit by here and do nothing.    
DUCKY: Well of course, not.  Nobody expects you to do nothing.    
SHEPARD: Cynthia!  I want a direct feed into DiNozzo’s command post, ASAP.     
CYNTHIA: Yes, Director.    
DUCKY: That is a good decision, Director.    
SHEPARD: I’ll believe that, Ducky, when the situation is defused.    
DUCKY: Right.    
     
     
  MUSICAL BRIDGE TO:   
     
 INT. ADMIN OFFICE - DAY     
     
TONY: W.W.G.D.?    
ZIVA: Is that a weapons acronym?    
TONY: No.  It stands for “What Would Gibbs Do?”    
ZIVA: Well it’s too bad we can’t ask him.    
TONY: Captain, your team’s are in place?    
WISE: We’ve got three snipers in position, Sir.  If the target looks out the blinds again…?    
TONY: No one takes a shot unless I clear it.  You’re with me.    
ZIVA: Where are you going?    
TONY: To talk to Kody.    
     
  MUSICAL BRIDGE TO:   
     
 INT. CLASS ROOM - DAY     
     
GIBBS: You want to stay away from the window’s, Kody.    
KODY: What, because of snipers?  They won’t shoot a kid.    
GIBBS: I wouldn’t count on that.  (BEAT)  It’s not too late to fix this.    
KODY: You’re going to reason with me?  Go ahead.  No, really.  Go ahead.  Convince me I’m not in trouble.    
GIBBS: No.  You’re in trouble.  How much is up to you.    
KODY: What’d you just do?      
GIBBS: Nothing.  Just stretching my arms.    
KODY: You just… you just did something!  What was it?!    
TONY: (V.O.)  Kody, this is Special Agent DiNozzo.    
     
  CUT TO:     
     
 INT. HALLWAY – DAY     
     
TONY: How’s Nadia?    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: She’s fine for now.    
TONY: (V.O.)  How are the other kids?    
KODY: They’re fine, okay?!    
     
  CUT TO:     
     
 INT. HALLWAY – DAY     
     
TONY: I’m going to have to take your word on that.  But I’m going to need some proof, Kody.  Open the door.    
KODY: (V.O.)  No!    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: No way!  You try to get in here… I’m… I’m setting this off!    
     
  CUT TO:     
     
 INT. HALLWAY – DAY     
     
TONY: (V.O.)  No one’s coming in.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
TONY: (V.O.)  I’d like to speak to Special Agent Gibbs.    
GIBBS: Everybody’s okay, Boss.    
     
  CUT TO:     
     
 INT. HALLWAY – DAY     
     
TONY: Well, that’s good to hear… Special Agent Gibbs.    
KODY: (V.O.)  Your agent says he’s a negotiator.    
TONY: Well, that’s right.  He’s my best man.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: Your best man’s a moron for getting caught in here.    
     
  CUT TO:     
     
 INT. HALLWAY – DAY     
     
TONY: He always had an attitude problem.  We’re all going to work on this together.  What do you say to that, Kody?    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: You know, I want the man in charge.  Not the field commander.  The one who makes the final decision.    
     
  CUT TO:     
     
 INT. HALLWAY – DAY     
     
TONY: That’s me, Kody.     
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: If I ask for an airplane and a million dollars, would you just give it to me?    
     
  CUT TO:     
     
 INT. HALLWAY - DAY     
     
TONY: Is that what you want?    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: Answer my question!    
     
  CUT TO:     
     
 INT. HALLWAY - DAY     
     
TONY: I’ll make some calls.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: (LOUDLY)  Are you the man or not!?    
     
  CUT TO:     
     
 INT. HALLWAY - DAY     
     
TONY: I’m the one you want.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: Bring my mother to the classroom.      
     
  CUT TO:     
     
 INT. HALLWAY - DAY     
     
KODY: (V.O.)  No deals, no stalling.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: You have until sundown.  If you… if you can’t do that, then…. everyone dies.    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
MEYERS: I want to see my son.    
ZIVA: That’s not happening, Major.    
MEYERS: The hell it’s not!    
ZIVA: Calm down.    
MEYERS: I need to see he’s okay.      
TONY: Aside from holding five people hostage, he’s doing great.    
ZIVA: What does Kody want?    
TONY: He wants his mother brought to him.    
MEYERS: Oh, god!    
ZIVA: What?    
MEYERS: Kody’s mother is dead.    
     
  (MUSIC UP AND OUT)   
     
 MUSIC IN:    
     
 INT. ADMIN OFFICE - DAY     
     
MEYERS: She died a year ago.  A boating accident.  Angela liked sailing.  Kody took it… well, we all took it hard.    
ZIVA: Clearly.    
MEYERS: Kody’s had some difficulties, but he’s never acted out before.    
ZIVA: Your son strapped a bomb to his chest, kidnapped his homeroom, and is demanding to see his dead mother.  I’d say he’s past the acting out stage, Major.  And frankly…    
MEYERS: Let me talk to him. I can calm him down.  I can get him out of there.    
TONY: Contact with you may only exasperate the situation.    
MEYERS: He’s my son!  He’s having a breakdown.  His mind is playing tricks on him.    
TONY: Tricks?  What kind of tricks?  (BEAT)  Listen, if this is going to end well, we need all the intel you can give us on your son.     
MEYERS: Kody thought he saw his mother a couple of months ago.    
ZIVA: Alive?    
MEYERS: His therapist said it’s completely normal, a coping mechanism.  A lot of people imagine seeing dead loved ones.    
TONY: Well, it’s the part where he wants to talk to her that’s got us a little worried.    
MEYERS: I saw the SRT teams outside the school.  I know what comes next.  I’m begging you, please, give my boy a chance.    
TONY: We’re going to do everything we can to get all those kids out of there safely, Major.  All of them, including your son.    
MEYERS: Thank you.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
GIBBS: There are easier ways to see your mother, Kody.    
KODY: It’s none of your business.    
GIBBS: You made it my business when you threatened their lives.    
KODY: It’s not up to me, okay?    
GIBBS: Well, who is it up to, Kody?    
KODY: (GASPING)  You can’t fix this!  No one can fix this.    
GIBBS: I don’t want to fix it.  I want to end it.    
KODY: You just have the answers for everything, don’t you?    
  (KODY STUMBLES)   
KODY: No!  No!  Don’t touch me!    
TONY: (V.O.)  Kody!    
     
  CUT TO:     
     
 INT. HALLWAY - DAY     
     
TONY: Is something wrong in there?    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: (SHOUTS)  What the hell are you doing here?!    
     
  CUT TO:     
     
 INT. HALLWAY - DAY     
     
TONY: Giving you an update.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
TONY: (V.O.)  I want you to know that Special Agent Kaitlyn Todd is out looking for your mom.    
KODY: Don’t come back until you find her!  I… I won’t tell you again!    
TONY: (V.O.)  All right, I’m going.    
     
  CUT TO:     
     
 INT. HALLWAY - DAY     
     
WISE: How are you going to tell Gibbs the kid’s mom’s dead?    
TONY: I already did.  Special Agent Todd is dead.  (INTO PHONE)  DiNozzo. (PHONE RINGS)   
CYNTHIA: (V.O./FILTERED)  Hold for the Director.    
     
  CUT TO:     
     
 INT. SHEPARD’S OFFICE – DAY     
     
SHEPARD: He wants his dead mother brought to the classroom?    
TONY: (V.O./FILTERED)  He won’t accept she’s dead.  He thinks he saw her recently.    
DUCKY: It’s not an unusual fantasy in grief.    
SHEPARD: That’s an impossible demand.    
TONY: (V.O./FILTERED)  I know, Director.  I’m working on it.    
SHEPARD: Define working on it, Agent DiNozzo.    
     
  CUT TO:     
     
 INT. HALLWAY - DAY     
     
TONY: (INTO PHONE)  SRT’s in place.  Working on getting visual access into the room and a way to contact Gibbs.    
SHEPARD: (V.O./FILTERED)  And?    
TONY: (INTO PHONE)  And we’re just getting started.    
SHEPARD: (V.O./FILTERED)  What’s your deadline?    
TONY: (INTO PHONE)  Sundown.  About five hours.    
     
  CUT TO:     
     
 INT. SHEPARD’S OFFICE     
     
SHEPARD: How powerful is the bomb? (BEGIN TELEPHONE INTERCUTS)   
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  Uh, don’t know yet.  Sciuto and Agent McGee are going through the kid’s computer and everything found in his room.      
     
  (SCENE CUT)    
   

 
TONY: (V.O./FILTERED)  Trying to work out what the explosive is.     
SHEPARD: Does he have a dead-man switch?    
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  Hoping Sciuto and McGee can tell us that.    
     
  (SCENE CUT)    
     
SHEPARD: And if he doesn’t?    
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  You want me to take him out.    
     
  (SCENE CUT)    
     
SHEPARD: It may be your only option.    
TONY: (V.O./FILTERED)  I’d like to get them all out alive, Director…    
     
  (SCENE CUT)    
     
TONY: (INTO PHONE) …. Including Kody.    
SHEPARD: (V.O./FILTERED)  I agree.    
     
  (SCENE CUT)    
     
SHEPARD: But if it’s not possible, I need to know that you’re capable of making the call.    
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  I’ve done it before.    
SHEPARD: (V.O./FILTERED)  On a fifteen year old?  If the time comes…    
     
  (SCENE CUT)    
     
SHEPARD: ….. You cannot hesitate.  You cannot…    
     
  (SCENE CUT)    
     
SHEPARD: (V.O./FILTERED)  … Second guess yourself.    
TONY: (INTO PHONE)  Okay, if you don’t trust me, I suggest you relieve me.  Otherwise, leave me alone.  I’ve got work to do, Ma'am. 

(END TELEPHONE INTERCUTS)   
ZIVA: She asked if you had the calzones for this, yes?    
TONY: Cajones.      
ZIVA: Do you?       
     
  CUT TO:     
     
 INT. SHEPARD’S OFFICE     
     
SHEPARD: Gibbs has rubbed off on him.    
DUCKY: Well, that’s a positive thing.    
SHEPARD: He isn’t Gibbs, Ducky.    
DUCKY: No, but he’s very capable.  The boy’s mother?    
SHEPARD: Yes.  Cynthia?    
CYNTHIA: (V.O./FILTERED)  Ma'am.    
SHEPARD: I need the NCIS case file on the drowning of Marine dependent Angela Meyers.    
CYNTHIA: (V.O./FILTERED)  Right away, Ma'am.    
DUCKY: What are you up to?    
CYNTHIA: The boy wants his mother.  We may have to give her to him.  

 
     
  MUSICAL BRIDGE TO:   
     
 INT. LAB – DAY     
     
ABBY: There is no way that kid assembled that bomb at his house.    
MCGEE: Um-hmm.    
ABBY: Which means?  (BEAT)  Which means he either made it somewhere else, or someone helped him.  What do you think?    
MCGEE: Sounds good.    
  (ABBY HITS MCGEE)   
MCGEE: What?  What was that for?    
ABBY: Not paying attention to me.  I’m trying to tell you I think there’s more kids out there.  This could be part of a larger plan.    
MCGEE: I don’t think so.  Kody believes his mother is still alive.  Look at this.  He’s sending her photo all over the web, asking if anyone’s seen her.  He expects us to find her.    
ABBY: This could be a good thing.  There were no traces of explosives at his house.  No bomb making materials.  There were no plans or schematics for construction on his computer.  The bomb has got to be a fake!  I hope.    
MCGEE: Ooo!  Ooo!  Oh, wow.    
ABBY: Wow what?    
MCGEE: It would help if you could get a better look at it, right?    
ABBY: Yeah, how are we going to do that?    
MCGEE: Look at this.  Three computers in the back of the classroom.  

 
ABBY: With webcams and mics.    
MCGEE: All we have to do is hack in.    
ABBY: And we’ll have eyes and ears and we can see the bomb.    
MCGEE: Hey!    
ABBY: We should have thought of that hours ago.  Don’t be gentle.    
MCGEE: I’m not going to hit you.    
ABBY: Come on!  I deserve it.    
MCGEE: No.    
ABBY: Elf lord.    
     
  CUT TO:     
     
 INT. HALLWAY – DAY     
     
ABBY: (V.O.)  Ow!    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
TONY: I don’t see squat, Probie.    
MCGEE: (V.O./FILTERED)  Tony….    
     
  CUT TO:     
     
 INT. LAB – DAY     
     
MCGEE: Are your laptops even on?    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
TONY: Probie, now is not the time.    
     
  CUT TO:     
     
 INT. LAB – DAY     
     
ABBY: Wait, Tony.  It’s on our end, okay?  It’s still buffering.    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
ABBY: (V.O./FILTERED)  That should do it.    
ZIVA: You are amazing, Abby.    
     
  CUT TO:     
     
 INT. LAB – DAY     
     
MCGEE: Actually, that was my idea – would you stop doing that?!  (V.O./FILTERED)  Hey, cut that out!      
ABBY: Ah!    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: Oh, why is it so hot in here?    
GIBBS: You can walk away from this.    
KODY: Do… do you have any idea what they will do to me if I walk out of this building?    
GIBBS: No one will touch you.    
KODY: You have no idea.    
GIBBS: I won’t let them, Kody.  

 
     
 (ON MONITOR) GIBBS…
WE CAN SEE YOU    
     
  (NADIA GASPS)   
KODY: What’d you…. what’d you just do?!  What just… what just happened?    
NADIA: I… I don’t…    
GIBBS: She dropped her inhaler.  Let Nadia go, Kody.  As a sign of good faith while we look for your mom.    
KODY: No one leaves!  Do you get this!?      
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
ZIVA: Electro blasting caps wired into a central circuit board.  Four visible charges, all equipped with nails to inflict maximum shrapnel damage.  This is no fake bomb, Tony.  Good news.  The detonator appears to be remote in his hand.    
TONY: Good news?    
ZIVA: Well, it doesn’t seem to be a dead-man’s switch.  A head shot will stop this without setting off the bomb.    
TONY: Just like that.  A head shot.    
ZIVA: Oh, yeah.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
 (ON MONITOR) MOM IS DEAD…
LAST YEAR    
     
GIBBS: Tell me about your mom, Kody.  Doesn’t she want to see you?    
KODY: Don’t say that!      
GIBBS: I’m just wondering why you’re threatening to blow all of us up just to see her.    
KODY: Because I… I do, okay?    
GIBBS: She’s dead, Kody.    
KODY: I know.  (BEAT)  I know I saw her!  Shut up!  Shut up!  Just… just…    
     
  CUT TO:     
  (GASPING B.G.)   
 EXT. ROOFTOP – DAY     
     
SNIPER: Target acquired.    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
SNIPER: (V.O./FILTERED)  I say again, target is acquired.    
WISE: We may not get another chance, Sir.    
     
  CUT TO:     
     
 EXT. ROOFTOP – DAY     
     
SNIPER: Do I have a go?  Over.     
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
ZIVA: Tony?    
     
  CUT TO:     
     
 EXT. ROOFTOP – DAY     
     
SNIPER: The shot is still good, Sir.  Over.    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
WISE: Sir, we’re going to lose the target.    
TONY: He’s not a target.  He’s a fifteen year old boy who misses his mom.  (V.O./FILTERED)  All sniper units stand down.      
     
     
  CUT TO:     
     
 EXT. ROOFTOP – DAY     
     
TONY: (V.O./FILTERED)  Do not take the shot.    
SNIPER: All units stand down.    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
ZIVA: Why?    
TONY: It’s a Gibbs’ thing.  My gut.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
KODY: Stop!  Don’t!  What are you doing?  Just get away from me!    
     
  CUT TO:     
     
 INT. ABBY’S LAB – DAY     
     
ABBY: He’s signing.    
MCGEE: What’s he saying?    
ABBY: I can’t tell.  He’s not being obvious about it.  Wait.  Puppet.  Yes!  Puppet.  What does that mean?    
MCGEE: I don’t know.    
ABBY: Wait, not puppet.  It’s marionette.  He’s saying that somebody’s pulling Kody’s strings.    
MCGEE: Wait, like controlling him?    
ABBY: Not just controlling him, McGee.  Controlling the bomb.    
     
  (MUSIC OUT)   
     
 MUSIC IN:    
     
 INT. LAB – DAY     
     
ABBY: If somebody’s controlling Kody, they have to be talking to him.    
MCGEE AND ABBY: (IN UNISON)  Earwig!    
MCGEE: Ask Gibbs.  Wait, hold it!  Hold it!  Send it now!    
     
 (ON MONITOR) EARWIG?    
     
KODY: (V.O./FILTERED)  Why’d you just nod?    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
GIBBS: What?    
     
  CUT TO:     
     
 INT. LAB – DAY     
     
KODY: (FILTERED)  You just nodded.    
GIBBS: (FILTERED)  Did I?    
KODY: (FILTERED/SHOUT)  Yes!    
MCGEE: How did he see that?  His back was to Gibbs.    
GIBBS: (V.O./FILTERED)  I don’t know.  Nervous.  Jumpy.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
GIBBS: I guess.    
KODY: Are you signaling someone in this room?    
GIBBS: No.  I swear.    
     
  CUT TO:     
     
 INT. LAB – DAY     
     
ABBY: They’re not just talking to Kody.  They have eyes in the classroom too, McGee.    
MCGEE: Tony, did you copy that?    
TONY: (V.O./FILTERED)  Roger.    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
TONY: Dirtbags have eyes and ears in the classroom.    
ZIVA: Good.      
TONY: Good?    
ZIVA: We backtrack the feeds.  It’ll lead us to them.  

 
WISE: Earwigs have a limited range and only a handful of frequencies.  We have the equipment here to sweep.    
TONY: Do it.    
WISE: Yes, Sir.  (V.O.)  Get the equipment.  Set up for frequencies.    
TONY: Abby, SRT…    
     
  CUT TO:     
     
 INT. LAB – DAY     
     
TONY: (V.O./FILTERED)  … Is sweeping earwig freqs to trace the source.  Can you guys do the same thing with the eyes?    
ABBY: McGee?    
MCGEE: We have three computers with webcams in the back of the classroom.  We’re using one of them.  They must be using…    
ABBY: The one with the blocked router!  The one we couldn’t get into?    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
TONY: How long?    
MCGEE: (V.O./FILTERED)  Depends.  They could be ….    
     
  CUT TO:     
     
 INT. LAB – DAY     
     
MCGEE: …. Using counter attack software.      
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
MCGEE: (V.O./FILTERED)  If they’re using a sophisticated encryption system…    
     
  CUT TO:     
     
 INT. LAB - DAY    
     
MCGEE: It could be a hundred and eighty to two hundred and fifty six bit…    
TONY: (V.O./FILTERED)  Probie!    
MCGEE: On it, Boss.  Tony.    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
ZIVA: What?    
TONY: He called me Boss.    
ZIVA: Yeah, he’ll never live that down.    
TONY: Nope.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
NADIA: What happens if they can’t find your mom, Kody?    
KODY: You know what will happen!      
JOE: Kody, just let us go, man.    
KODY: (SHOUTS)  Shut up!    
  (SFX: NADIA CRIES)   
KODY: Just don’t… don’t ask me that again.  Okay, Nadia?    
NADIA: (CRYING)  Okay.    
GIBBS: You don’t want to carry out your threat, do you, Kody?    
KODY: No. (BEAT)  But I will if I don’t talk to my mother.    
GIBBS: Talk or see?  We might have time…    
KODY: See!  See!  I have to see her right here in my homeroom!    
GIBBS: I’m just saying that talking to her might give us more time.    
KODY: (SHOUTS)  There is no more time, okay?!  She has to be here before sunset!!    
GIBBS: Nautical, civilian or astronomical?    
KODY: What?    
GIBBS: Which sunset?  There are three.    
KODY: Before it gets dark.    
GIBBS: Astronomical.    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
TONY: How’s it coming, Captain?    
WISE: Narrowing it down.    
TONY: I can’t stand doing nothing while everyone else is working.    
ZIVA: Well then do something.    
TONY: Any suggestions, Zee-va?    
ZIVA: Yes, DiNozzo.  We didn’t really have time to question Major Meyers.  He may be able to tell us who’s controlling his son.    
TONY: Captain, have your men bring Major Meyers in here.    
WISE: That’s going to be a problem.  The Major was taken to NCIS Headquarters.    
TONY: I didn’t authorize that.    
WISE: No, Sir.  Your boss did.  

 
TONY: My boss is a hostage right now.  I don’t think he’s authorizing much of anything.    
WISE: Not that boss, Sir.    
TONY: He’s the only boss I have.    
ZIVA: Ah ah ah ah.  You are forgetting the Director.    
     
  MUSICAL BRIDGE TO:   
     
 INT. SHEPARD’S OFFICE – DAY     
     
MEYERS: I’m an amphibious warfare instructor at Command and Staff, Quantico.      
SHEPARD: Are you involved in anything sensitive?    
MEYERS: You mean like secret?  No.  What does this have to do with my son?    
SHEPARD: Someone is controlling him.    
MEYERS: So this isn’t his idea?    
SHEPARD: I doubt it.    
MEYERS: Thank god.      
SHEPARD: He still has a bomb strapped to his chest.    
MEYERS: Yeah.    
SHEPARD: Why would they have him asking for his mother?    
MEYERS: I… have no idea.    
SHEPARD: How long did you know her?    
MEYERS: Since college.  We were married eighteen years when she died.      
DUCKY: What did she do?    
MEYERS: Grade school teacher.  Look, Angela had no dark side.  She loved me.  She loved Kody.  Whoever’s doing this must have her confused with someone else.    
SHEPARD: You’re probably right.  Thank you for your cooperation, Major.  

 
MEYERS: What are you going to do?    
SHEPARD: Get him out alive.    
MEYERS: Thank you.    
  (DOOR OPENS)   
  (MEYERS WALKS O.S.)
(DOOR CLOSES)   
DUCKY: You really think this is a bizarre case of mistaken identity?    
SHEPARD: Doesn’t really matter.  Every scenario plays out exactly the same.  The only way this can end well is if we find Angela Meyers.    
DUCKY: And if she is dead?    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
ZIVA: The detonator in Kody’s hand is a prop.  The people controlling him have the real one.    
TONY: You think?    
ZIVA: Yes.  I think shooting Kody wouldn’t have saved anybody in that classroom.  Doesn’t make you Gibbs.    
TONY: Someone went to a lot of trouble to raise Angela Myers from the grave.    
ZIVA: Well, obviously he, she or they don’t believe she’s dead.  They intend to kill her with a big boom.    
TONY: And blame it all on Kody. (SFX: BEEP TONES)   
WISE: Got the freq on Kody’s earwig!     
TONY: Where are they?    
WISE: Don’t know.  They’re communicating in short bursts.  We can’t get an accurate fix.    
     
  CUT TO:     
     
 INT. VAN – DAY     
     
RICO: The sunset esta muy hermosa, Kody.  Enjoy it.  It will be your last if ….     
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
RICO: (V.O./FILTERED)  …. Your mama doesn’t show.    
KODY: Look, we’re… we’re running out of time.  Where’s my mother?    
GIBBS: Let me talk to my… (V.O./FILTERED)  to my boss.  I’ll get a progress report.    
RICO: (V.O./FILTERED)  Okay, put the cell phone on speaker.    
KODY: Do it.  Put it on speaker.    
  (PHONE RINGS)   
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
TONY: (INTO PHONE)  DiNozzo.    
GIBBS: (V.O./FILTERED)  Hey Boss, have you located Kody’s mother yet?    
TONY: (INTO PHONE)  Agent Todd has her (V.O./FILTERED) phone number and is trying to make contact.    
     
  CUT TO:     
   

 
 INT. CLASS ROOM - DAY     
     
RICO: (V.O./FILTERED)  Get the number!    
KODY: What is the number?    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
TONY: (INTO PHONE)  I don’t know, Kody.      
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
TONY: (V.O./FILTERED)  Agent Todd is on it.    
RICO: (V.O./FILTERED)  Get the number!    
KODY: (SHOUTS)  I want the number!    
GIBBS: Better get him the number (V.O./FILTERED) Boss.    
TONY: (V.O./FILTERED)  I’ll contact…    
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
TONY: (INTO PHONE)  …Agent Todd and get back to you.    
  (END TELEPHONE INTERCUTS)   
ZIVA: You had to say you had her number?    
TONY: I know.  I know it wasn’t…    
ZIVA: A mistake Gibbs would have made?    
WISE: Sir, EOD’s been studying the pictures of the bomb vest.  This is the remote to the detonator.  One shot could destroy it.  

 
ZIVA: And Kody.    
WISE: There’s more than just one life at stake here, Ma'am.    
TONY: (INTO RADIO)  McGee, tell me you’re making…    
     
  CUT TO:     
     
 INT. LAB – DAY     
     
TONY: (V.O./FILTERED)  … Progress.    
MCGEE: I’m making progress, Tony.  (V.O./FILTERED)  Back tracing their connection (INTO PHONE) to the classroom computer now.  Okay, they’re in Triangle, Virginia.    
ABBY: Piggy backing off a wi-fi node at the warehouse outside the main gate.    
MCGEE: I’m sending you the address.  Now do you want us to cut…    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
MCGEE: (V.O./FILTERED)  … Their connection to the webcam?    
TONY: (INTO PHONE)  Negative, Probie.  I’ve got a better idea.    
     
  CUT TO:     
     
 INT. LAB – DAY     
     
MCGEE: You know what, Tony?  This might actually work.    
     
  CUT TO:     
     
 INT. ADMIN OFFICE - DAY     
     
TONY: Don’t sound so surprised, Probie.    
     
  CUT TO:     
     
 INT. LAB – DAY     
     
ABBY: Oh, he’s right, Tony.  We should have thought of it.    
MCGEE: Ow!    
ABBY: Ow!    
TONY: (V.O./FILTERED)  What the hell was that?    
ABBY: McGee tripped.    
TONY: (V.O./FILTERED)  Trip on your own time, Probie.  Can you make it happen or not?    
ABBY: The problem is finding the right stream to mirror, Tony.    
MCGEE: We’ll need to recreate a virtual hard drive.    
ABBY: To replace the physical one.    
MCGEE: (V.O./FILTERED)  The key is the insertion phase, so we’re going to need…    
ABBY: A natural buffering period so we won’t be detected.    
MCGEE: Using a pretty standard code…    
ABBY: Which means they’ll be able to retag the algorithm during decompression.    
MCGEE: (V.O./FILTERED)  So what we need is a multi point (ON CAMERA) control unit to enable a seamless…    
TONY: (V.O./FILTERED)  Guys, phys ed major here.    
ABBY: We can do this, Tony.    
TONY: (V.O./FILTERED)  When?    
MCGEE: Uh… now if you want.  

 
TONY: (V.O./FILTERED)  On my mark.  DiNozzo out.    
MCGEE: What was that one for?    
ABBY: Pissing off Tony.  Can’t you tell he’s under a lot of pressure?    
     
  CUT TO:     
     
 INT. VAN – DAY     
     
  (PHONE RINGS)   
KODY: (V.O./FILTERED)  Answer it.    
     
  CUT TO:     
     
 INT. CLASS ROOM - DAY     
     
GIBBS: We’re here.    
TONY: (V.O./FILTERED)  Kody, Agent DiNozzo here.  I have some good news.  We have your mom.    
KODY: (LONG BEAT)  You found her?    
TONY: (V.O./FILTERED)  Yes, we did.  She’s being escorted onto the base as we speak.  She should be at the school in twenty minutes.  You sit tight, we’ll have a happy ending here.      
     
  CUT TO:     
     
 INT. LAB – DAY     
     
TONY: (V.O./FILTERED)  Okay, Probie, now!    
ABBY: Do you actually think this is going to work?    
MCGEE: If I tell you the truth are you going to hit me again?    
ABBY: Yeah.    
MCGEE: Yeah.  I think it’s actually going to work.  It has to.    
     
  CUT TO:     
     
 INT. VAN – DAY     
     
RICO: Do you hear those sirens, Kody?  You might just survive this after all.      
  (SFX: SIRENS B.G.)   
     
RICO: (IN SPANISH)  The boss was right.  She wasn’t dead!  But she will soon be.    
     
  (SFX: BEEP TONE)   
RICO: (IN SPANISH) What the hell?    
DRIVER: (IN SPANISH)  I don’t know.    
ZIVA: (ON MONITOR) Shalom!    
DRIVER: (IN SPANISH)  What’s going on?    
TONY: Hola.    
GIBBS: Hi.  Not bad, DiNozzo.  Not bad at all.    
     
  CUT TO:     
     
 INT. SQUAD ROOM – NIGHT     
     
ABBY: That was brilliant, Tony.  Looping the classroom video to the bad guys while you evac’ed the kids.    
MCGEE: She’s right.  It was a great idea, Tony.    
  (TONY HITS MCGEE)   
MCGEE: Hey!    
TONY: Boss.  It was a great idea, Boss.    
MCGEE: Slip of the tongue, okay?      
TONY: Freudian slip of the tongue.    
ZIVA: Oh, give it up, McGee.  Some things Tony never forgets.  

 
ABBY: That’s true.  So Tony, what movie gave you the big idea?    
TONY: Movie?    
MCGEE: Yeah.  You know, making the video of the classroom to feed back to the bad guys?    
TONY: It just kind of came to me, actually.    
ZIVA: Ooh!  I saw it!  They had these terrorists.    
TONY: Half the movies today are about terrorists.    
ZIVA: No no no.  And they took over this bus, and it starred… um…..that actress with the name like an animal… a cow.  No.  Uh… ox.  No, it’s not that.    
ABBY: Bull?    
ZIVA: Bull!  Bullock.  Sandra Bullock.  Yeah, and I can’t remember the title of the movie, but it’s…    
MCGEE: I’m going to look it up.  I’m going to check her credits.    
TONY: Probie, don’t you have a report to finish?    
MCGEE: Oh, yeah.  I did it.    
TONY: Good for you.  That’s good.  Ooh, wait.  Stop talking.  Wait.  Has anyone seen Gibbs?    
     
  CUT TO:     
     
 INT. SHEPARD’S OFFICE – DAY     
     
SHEPARD: It takes guts to testify against Carlos Mendez.    
GIBBS: It took more guts to fake her death and walk away from a husband and son to protect them.    
SHEPARD: Eighteen years is a long time to seek revenge, even for a Colombian drug lord.    
GIBBS: Jen, I’ve got to find her.    
SHEPARD: No.  You don’t.    
GIBBS: You know, Kody Meyers has had one hell of a day.  It’s the least I can do for this kid.  

 
  (DOOR OPENS)   
  (SFX:CRYING)   
SHEPARD: Good to see I can still surprise you, Jethro.    
     
  (MUSIC OUT)   
     
  (ENDING CREDITS UP AND OUT) 
 
 
   
* * * * * * * *


Prepared by C.C.   Printed in USA
Calvert Continuities   Aired 3/14/06





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Au total, 93 membres ont visionné cet épisode ! Ci-dessous les derniers à l'avoir vu...

Casey5102 
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NCIS, S15E17 (inédit)
Vendredi 19 avril à 21:00

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NCIS: Nouvelle-Orléans , S05E21 (inédit)
Mardi 23 avril à 22:00

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NCIS, S15E18 (inédit)
Vendredi 26 avril à 21:00

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NCIS, S16E21 (inédit)
Mardi 30 avril à 20:00

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NCIS: Nouvelle-Orléans , S05E22 (inédit)
Mardi 30 avril à 22:00

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NCIS, S15E19 (inédit)
Vendredi 3 mai à 21:00

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NCIS, S16E22 (inédit)
Mardi 7 mai à 20:00

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NCIS: Nouvelle-Orléans , S05E23 (inédit)
Mardi 7 mai à 22:00

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NCIS, S16E23 (inédit)
Mardi 14 mai à 20:00

Dernières audiences
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NCIS : New Orleans, S05E20 (inédit)
Mardi 16 avril à 22:00
6.54m / 0.7% (18-49)

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NCIS, S16E20 (inédit)
Mardi 16 avril à 20:00
11.88m / 1.1% (18-49)

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NCIS, S15E16 (inédit)
Vendredi 12 avril à 21:00
2.80m / 12.5% (Part)

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NCIS : New Orleans, S05E19 (inédit)
Mardi 9 avril à 22:00
6.69m / 0.6% (18-49)

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NCIS, S16E19 (inédit)
Mardi 9 avril à 20:00
11.82m / 1.2% (18-49)

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NCIS, S15E15 (inédit)
Vendredi 5 avril à 21:00
2.59m / 11.5% (Part)

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