Épisode Hiatus (Partie 1) S03E23 - NCIS Saison 3

MUSIC IN:    

     
 EXT. PORTSMOUTH DOCK – NIGHT     
     
  (MUSIC OVER ACTION)
(VOICES B.G.)   
TONY: (V.O.)  This is so Usual Suspects!    
     
  CUT TO:     
     
 INT. PARKED CAR – NIGHT     
     
ZIVA: Tony, your dying words will be “I’ve seen this film.”    
TONY: Gibbs even looks a little bit like Gabriel Byrne.    
ZIVA: Okay.  Who is Gabriel Byrne?    
TONY: An actor who boards a mysterious ship like this one searching for Keyser Sose.    
ZIVA: Another actor?    
TONY: No.  Keyser Sose is a character in the film who may or may not exist.    
ZIVA: I’m confused.    
MCGEE: So am I.  And I saw the DVD twice.    
TONY: The Sound of Music confuses you, Probie.  

 
ZIVA: I love that movie!    
  (SFX: ZIVA BEGINS TO SING)   
TONY: One note and I will lock you in a room and make you listen to “It’s a Small World” for twenty-four hours straight!  Do we understand each other?    
ZIVA: (MUFFLED)  Mm-hmm.    
CRUZ: (V.O.)  Okay, next!    
     
  CUT TO:     
     
 INT. CREW MESS – NIGHT     
     
  (SFX: KEYBOARDING B.G.)   
MAHIR: Is something out of order?    
CRUZ: We have no record of Abog Galib ever entering the United States.    
MAHIR: So?    
GIBBS: His passport has Philadelphia entry and exit stamps.  June of last year.    
MAHIR: Computer glitch?    
GIBBS: Or a forged passport.      
CRUZ: Hey! (MUSIC OVER ACTION/GALIB RUNS)   
  (SFX: SHOUTING B.G.)   
  (GIBBS CHASES GALIB THROUGH THE SHIP)   
     
  CUT TO:     
     
 INT. CREW LAUNDRY – DAY     
     
GIBBS: Hell, I thought we were going to do this without a chase.    
GALIB: I could not be arrested, Agent…    
GIBBS: Gibbs.    
GALIB: I had to speak to you alone.  The situation has changed.  The head of Abu Saif wants me to courier for him between Basilan and Pakistan.    
GIBBS: Bin Laden?    
GALIB: Allah be willing.  Oh, sorry if I made you run.    
GIBBS: Oh, I’d chase you to hell if it lead to Bin Laden.      
GALIB: You only have to chase me off the ship.    
GIBBS: Has Abu infiltrated SeaLift?    
GALIB: They are about to.  Our radio man, Pinpin Pula, is Abu Saif.  Somehow, he got a billet on the Cape Fear.    
GIBBS: The Cape Fear’s a SeaLift munitions transport.    
GALIB: She sails tomorrow to replenish Marine Expeditionary Strike Force Eight in the Red Sea.    
GIBBS: He plans to blow the Cape Fear when it’s off-loading ammo to an assault ship.  This will be as bad as Nine Eleven.    
GALIB: And just as terrifying.      
GIBBS: Galib, that’s good work.    
GALIB: I will go off the stern.  Fire a couple of rounds.  Just do not hit me.  Oh, my passport?    
GIBBS: I’ll alert my team.  Don’t want them to shoot you. (SFX: FAINT VOICES B.G.)   
GALIB: Wait!   Wait!    
     
  CUT TO:     
   

 
 INT. PARKED CAR – NIGHT    
     
TONY: He looks from the broken coffee cup on the floor.  He looks to the photo on the wall.  Looks…    
  (SFX: HUGE EXPLOSION ON SHIP B.G.)   
     
  (MUSIC UP AND OUT)   
     
  (THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT)   
     
 MUSIC IN:    
     
 INT. HOSPITAL CORRIDOR – NIGHT     
     
 “HIATUS (PART I)”    
     
  (MUSIC OVER ACTION/GURNEY WHEELS DOWN THE CORRIDOR)   
     
  (INTERCUT DESERT STORM FLASHBACK SCENES)
(SFX: MUFFLED VOICES B.G.)   
   

 
TOLLIVER: What do we got?    
PARAMEDIC: Blast victim.  Superficial burns and abrasions.  Pressure steady.    
TOLLIVER: Got a name?    
PARAMEDIC: Gibbs.  He’s a NCIS agent.    
TOLLIVER: All right, my count on three.  One, two, three!  Agent Gibbs!     
     
  CUT TO:     
     
 INT. MASH UNIT – DAY     
     
GELFAND: (MUFFLED)  Gunny!  Gunny!  Gunny!  Get him out of his gear!  Let’s go!    
     
  CUT TO:     
     
 INT. TRAUMA BAY – DAY     
     
TOLLIVER: G-C-S is less than eight.  Let’s intubate.  Twenty milligrams of etomidate.  A hundred of succinylcholine.    
NURSE: Right away.    
TOLLIVER: Skip the X-ray.  Go straight to Cat Scan.    
NURSE: (V.O.)  Call C-T.    
TOLLIVER: Come on, baby.    
     
  CUT TO:     
     
 EXT. DOCK – NIGHT     
     
DUCKY: Ziva, what happened?    
ZIVA: A bomb.  One dead, one injured.  You’ll need body suits, tweezers and those um… suction things.  

 
DUCKY: Turkey basters.    
ZIVA: And many, many, many specimen jars.    
DUCKY: Do you hear that, Mister Palmer?    
JIMMY: Yes, Doctor.    
DUCKY: Here, allow me.    
ZIVA: (IN HEBREW)  Toda.    
DUCKY: How badly is Jethro injured?    
ZIVA: Paramedics took him to emergency.    
DUCKY: Which hospital?  Portsmouth?  They have a level one trauma center at Portsmouth.    
ZIVA: I didn’t ask.    
DUCKY: You didn’t ask?!    
ZIVA: No, once the paramedics were on site, I had other priorities.  The possibility of more bombs, a crew to detain, a crime scene to secure…    
DUCKY: Well, McGee and Tony will know.  (BEAT)  Oh Ziva, I’m not implying that you don’t care.  Listen, I know you care!    
ZIVA: I don’t need reassurances, Doctor!    
DUCKY: Very well.  But I just want you to know that I know--    
ZIVA: Ducky, drip it!    
DUCKY: Do you mean drop it or zip it?    
ZIVA: Ah, American idioms drive me up the hall.    
DUCKY: Well, actually, never mind.    
     
  CUT TO:     
     
 INT. PASSAGEWAY – NIGHT     
     
CRUZ: One of the crew is missing.  The radio man, Pinpin Pula.    
TONY: Put out a BOLO.    
DUCKY: Tony, any word on Jethro?  

 
TONY: Not yet.  Portsmouth Trauma said to call back in an hour.    
DUCKY: Portsmouth.  Good, good.    
CRUZ: I’ll get out that BOLO.    
ZIVA: Do we have a suspect?    
TONY: Pinpin Pula.  What kind of name is Pinpin?     
DUCKY: Filipino.  In Tagalog it means “rice paddy dike.”    
ZIVA: Don’t say a word.    
DUCKY: I thought that was quite an accurate translation.    
     
  CUT TO:     
     
 INT. WAITING ROOM – NIGHT     
     
SHEPARD: Condition of Special Agent Jethro Gibbs.    
WASHINGTON: Trauma One.  No condition listed yet.  You can’t go in there, Director.  It’s restricted…. to medical personnel.      
SHEPARD: This isn’t about turf, you know.    
WASHINGTON: Oh, I know that.  It’s about rules.  And one really big one is, non-medical people cannot enter Trauma One….unless they’re carried in.     
SHEPARD: Get me a gurney.    
WASHINGTON: (LAUGHS)  That’s good.  Get me a gurney!  Ha ha!  I like that.    
SHEPARD: I left a dinner at the White House to come here.    
WASHINGTON: I’m impressed.  Really, I am.  That still doesn’t change the rules.    
SHEPARD: I was hoping I wouldn’t have to resort to this.    
WASHINGTON: Shooting your way in?    
SHEPARD: Don’t be silly.  I don’t have my weapon.    
WASHINGTON: Calling the President?    
SHEPARD: Now that would be overkill.      
RICE: (V.O./FILTERED)  Hello?    
SHEPARD: (INTO PHONE)  Condi?  Jenny.  

 
RICE: (V.O./FILTERED)  Any word yet?    
SHEPARD: (INTO PHONE)  No.  I don’t have his condition yet.    
RICE: (V.O./FILTERED)  Well, why not?    
SHEPARD: (INTO PHONE)  The head nurse won’t let me in to Trauma.    
RICE: (V.O./FILTERED)  Let me speak with her.    
WASHINGTON: (INTO PHONE)  Ethel Washington, Ma'am.   (SFX: FILTERED VOICE B.G.)   
RICE: (V.O./FILTERED)  Condoleeza Rice.    
WASHINGTON: (INTO PHONE)  Yes, Ma'am.  I understand.    
SHEPARD: (INTO PHONE)  Thank you, Condi.    
  (SFX: DOOR BUZZ)   
  (DOOR OPENS)   
     
ABBY:

ABBY:
 McGee said that Gibbs was in a bomb blast!  He tried to sound really calm, but I could hear the fear in his voice.  And he should be afraid!  For Gibbs to be brought to a hospital in an ambulance, it cannot be good!  I had to come see for myself.  And my hearse got a flat – as usual – so I got in a cab to go the airport, and then I realized that by the time I got to the terminal, and I bought a ticket, and I went through security, and then I flew to Norfolk, and I got a cab here, it would be better just to sit in the cab that I was in.  So I did that.  It cost a lot of… you know, it doesn’t matter what it cost because this is Gibbs we’re talking about!  I can’t believe that he’s hurt!  He is never hurt.  Not hurt enough to go to a hospital.  He has to be dying to even go see a doctor!  Oh, my god!   He isn’t dying, is he?  I don’t know what I would do!  Positive thoughts.  Positive thoughts.  Positive thoughts. 

(CONT.)  Okay, I know the rule is that you have to be family to go into Emergency, at least that’s what they said when Uncle Charlie got his leg caught in a nutria trap.  But Gibbs and me, we’re tighter than blood!  I know you need I.D.  I have an I.D. in here.  I work at NCIS.  Forensics, and uh… ballistics, chemical analysis, and DNA typing.  Uh… here.  That’s me.  I promise.  I just – I had to be in court that day.  But I swear, that is me!      
  (SFX: DOOR BUZZ)   
ABBY: You’re a really, really good person.    
  CUT TO:     
     
 INT. PASSAGEWAY – NIGHT     
     
ZIVA: You’re going to have to look in there sooner or later, McGee.    
MCGEE: I already did.    
ZIVA: Uh-huh.      
MCGEE: Ziva, I don’t think I can go in there.    
ZIVA: McGee!    
MCGEE: I know.    
ZIVA: Don’t let Tony smell fear or else he’ll just--     
TONY: Probie!  I’ve got a special job for you.    
ZIVA: Too late!    
TONY: Bomb dog took point on Rice Paddy Dike’s foot locker.  Tag and stow it in the truck for Abby, would you?    
MCGEE: On it, Boss.    
TONY: I do love it when he calls me Boss.    
ZIVA: Is that why you’re being nice to him?    
TONY: Nice?!  I’m not being nice.  Lugging foot lockers is probie work.  All right, I cut the probie some slack.  It’s a bad day.    
ZIVA: Yes.  A very bad day.    
TONY: What’s the point of origin?    
ZIVA: A fifty five gallon oil drum.  That twisted ring is all that’s left of it.  What is an oil drum doing in the laundry compartment?    
TONY: Ships clean and reuse them for storage.  This one probably held dirty laundry.    
ZIVA: Very unsanitary.  Fragments indicate a high explosive.  Abby should be able to trace the taggant.    
TONY: Why’s his head and torso intact when the rest of him’s a slushie?    
ZIVA: Suicide bombers wearing an explosive belt look like this.  Except there’s always something left of their lower extremities.  You see a foot?    
TONY: Not even a tootsie.    
ZIVA: A tootsie?    
DUCKY: A toe.  Although in my generation, tootsie also referred to one’s sweetie pie.    
ZIVA: Sweetie pie?    
TONY: Any word from the hospital?    
DUCKY: Jethro’s critical, but stable.  Then… he wasn’t in here when the bomb detonated, was he?    
TONY: That corner.    
DUCKY: How did he survive?    
ZIVA: The washer and dryer shielded him from the main force of the blast.    
  (SFX: RAINFALL)   
ZIVA: It’s raining.    
     
  CUT TO:     
     
 INT. CORRIDOR – DAY     
     
  (DOORS OPEN)   
TOLLIVER: He’s suffered a concussion but there are no signs of intra-cerebral hemorrhaging.    
ABBY: He’s going to be okay, though, right?    
TOLLIVER: He should be fine.    
ABBY: I don’t want to hear should be!  I want to hear will be!    
SHEPARD: Abby.    
ABBY: Should be is not positive.    
SHEPARD: Enough, Abs.    
     
  CUT TO:     
     
 INT. ICU ROOM – NIGHT    
     
TOLLIVER: I want to see what’s under the hood.  Hold the sedation.  And call me when he wakes.      
NURSE: Mm-hmm.    
TOLLIVER: I’m always positive, Ms. Sciuto.  But with a concussion, until… until he wakes, no one knows what’s going on inside his brain.    
     
  CUT TO:     
     
 EXT. HOUSE – FLASHBACK     
     
KELLY: I’ll miss you, Daddy.    
GIBBS: We’ve said it all before.    
SHANNON: I want to hear it again.    
GIBBS: I will take care.  I will come back safe.    
SHANNON: Not those words.    
GIBBS: I love you.    
     
  (MUSIC UP AND OUT)   
     
 FADE IN:    
     
 INT. ICU ROOM – DAY     
     
  (SFX: BEEP TONES B.G.)   
  (PHONE RINGS)   
SHEPARD: (INTO PHONE)  Shepard.    
  (BEGIN TELEPHONE INTERCUTS)   
     
TONY: (INTO PHONE)  Yikes!  Agent DiNozzo here.  Cynthia told me you stayed at the hospital.  Is the boss awake?    
     
  (SCENE CUT)    
     
SHEPARD: (INTO PHONE)  I am, Agent DiNozzo.  You have a sit-rep for me?    
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  I do, Director Shepard.  Crime scene’s been processed.  Evidence tagged.  Remains are on their way to autopsy.  Officer David and Special Agent McGee are questioning the crew.     
     
  (SCENE CUT)    
     
TONY: (V.O./FILTERED)  We have an I.D. on the suspected bomber.  The freighter’s radioman, Pinpin Pula.  Filipino.      
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  Suspected to be Abu Saif.  BOLO’s been issued for his apprehension.  That is all I have to report, Ma'am.    
     
  (SCENE CUT)    
     
SHEPARD: (INTO PHONE)  Agent DiNozzo.    
TONY: (V.O./FILTERED)  Director?    
SHEPARD: (INTO PHONE)  I was out of line.    
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  You are the Director, Ma'am.  You cannot be out of line.    
SHEPARD: (V.O./FILTERED)  Please.    
     
  (SCENE CUT)    
     
SHEPARD: (INTO PHONE)  I was bitchy.  Let me apologize.  I’m sorry.    
TONY: (V.O./FILTERED)  If I may state an opinion, Ma'am.    
SHEPARD: (INTO PHONE)  Fire away.    
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  Never apologize.  It’s a…    
     
  (SCENE CUT)    
     
SHEPARD: (INTO PHONE)   … Sign of weakness.    
TONY: (V.O./FILTERED)  Sign of weakness.    
SHEPARD: (INTO PHONE)  I was his partner, too, DiNozzo.  I know all the “Gibbs-isms.”    
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  Actually, he borrowed that one from the Duke.    
     
  (SCENE CUT)    
     
SHEPARD: John Wayne.    
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  Said it to Joanne Dru in She Wore a Yellow Ribbon.    
     
  (SCENE CUT)    
     
SHEPARD: (INTO PHONE)  Jethro’s a lot like the Duke.    
TONY: (V.O./FILTERED)   I keep waiting for him to say…    
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  That’ll be the day.    
     
  (SCENE CUT)    
     
SHEPARD: (INTO PHONE)  He said that in Paris to me once when I told him that … (LONG BEAT) when we were working together.    
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  Shouldn’t he be awake by now?    
     
  (SCENE CUT)    
     
SHEPARD: (INTO PHONE)  You know Gibbs.  He keeps his own schedule.  Do you know what REM is?    
     
  (SCENE CUT)    
     
TONY: (INTO PHONE)  Sure.  Rapid eye movement.  It happens when you’re asleep and dreaming.    
     
  (SCENE CUT)    
     
SHEPARD: (INTO PHONE)  That’s what it looks like he’s doing right now.    
TONY: (V.O./FILTERED)  Oh, well that’s got to be a good sign, right?    
SHEPARD: (INTO PHONE)  If it isn’t a nightmare.    
  (END TELEPHONE INTERCUTS)   
     
  MUSICAL BRIDGE TO:   
     
 EXT. DESERT – FLASHBACK     
     
  (MUSIC OVER MONTAGE OF FLASHBACK SCENES)   
  (SFX: GUNFIRE)   
GUNNY’S C.O.: Gunny, they’re both dead.  I’m terribly sorry, Jethro.    
GIBBS: (SHOUTS)  No!    
     
  CUT TO:     
     
 INT. OFFICER’S MESS – DAY     
     
MAHIR: How many times are you going to ask me the same question?    
ZIVA: No smoking.    
MAHIR: (IN TURKISH)  Bitch!    
MCGEE: What’d he say?    
ZIVA: (IN TURKISH)  Want to see this bitch take that cigar to your testicles? 
(MAHIR CHUCKLES)   
MCGEE: What’d you say?  

 
ZIVA: That I understood him.    
MAHIR: At least let my crew go ashore.  They have been at sea for two months.    
ZIVA: (LAUGHS)  Excuse me.  You don’t appear to be the kind of Captain who actually cares about the welfare of his crew.    
MAHIR: That’s it!  I want to speak to Turkish consulate!    
CRUZ: I can arrange that.    
MAHIR: Yes!    
CRUZ: If… if NCIS agrees.    
TONY: We do not.   (SFX: CHAIR BANGS INTO THE WALL)   
TONY: Learn anything, Ziva?    
ZIVA: Captain Mahir knows more than he’s telling.    
MAHIR: I know nothing.    
TONY: That’s very Sergeant Schultz.    
MCGEE: Tony, how’s the Boss?    
TONY: (AS SCHULTZ)  I know nothing!    
MCGEE: That’s not funny, Tony.    
TONY: McGee, it’s the boss.  He’ll be fine.  With me!    
  (TONY WALKS O.S.)   
ZIVA: He’ll be living off coffee next.    
MCGEE: Tony doesn’t like coffee.    
  (SFX: MAHIR SHOUTS)   
TONY: (V.O.)  Why do you suspect the Captain?    
     
  CUT TO:     
     
 EXT. DECK – DAY     
     
ZIVA: He smokes expensive Havanas and wears a ten karat diamond.    
TONY: Could be zircon.  

 
ZIVA: Never doubt an Israeli about diamonds.  Our Turk Captain likes money, the kind Abu Saif pays to transport weapons, explosives and terrorists.    
TONY: I’ll flip you to see which of us takes the Captain in, and who visits Gibbs.    
ZIVA: I’ll take him in.  You don’t speak Turkish.    
     
  CUT TO:     
     
 INT. AUTOPSY ROOM – DAY     
     
DUCKY: Your observations, Mister Palmer.    
JIMMY: Well, fingerprints are out of the question.    
DUCKY: I was rather hoping for something other than the obvious.    
JIMMY: Well, we’ll have to use DNA to… I guess that’s rather obvious, too.    
DUCKY: Uh-huh.    
JIMMY: Uh… he was standing on the bomb.    
DUCKY: Better.  Why standing?    
JIMMY: Well, it seems to be the only way to explain his entire lower body being vaporized.    
DUCKY: Why not sitting?    
JIMMY: Uh… whatever he was sitting on would have shielded his butt.    
DUCKY: Unless his buttocks was sitting on the bomb.    
JIMMY: Who would sit on an explosive?    
DUCKY: Someone who didn’t know they were sitting on the explosive.    
JIMMY: Of course.    
DUCKY: I did it myself once.  No twice.  The first time I was young.  The second time, foolish.    
JIMMY: Why were you sitting on an explosive, Doctor?    
DUCKY: I just told you I was young and foolish.  Haven’t you been listening?    
JIMMY: I was.  I just…    
DUCKY: Specimen jar!  Come on.  If I’m not mistaken, Abby will find these to be fragments of the fifty-five gallon oil drum.  I must ask Jethro…    
JIMMY: Should I take these to Abby now, Doctor?    
DUCKY: Soon as I’ve taken a tissue sample for DNA confirmation.    
JIMMY: Is that really necessary, Sir?    
DUCKY: No!  No, it is not necessary!  We could match his teeth!  Is that what you’d prefer? (PAUSE) A wise choice, Mister Palmer.    
     
  MUSICAL BRIDGE TO:   
     
 INT. ICU ROOM – DAY     
     
TONY: Coffee.    
SHEPARD: Coffee?    
TONY: Sure way to wake Gibbs.    
SHEPARD: Good idea.  But, he’s intubated.  We’ll have to use the IV.    
TOLLIVER: Uh, tell Miss Sciuto that I didn’t abandon Gibbs.  Chief Neurologist would have been here today anyway.    
SHEPARD: I’m sure she’ll understand.    
TOLLIVER: I hope so.  I like women with fire.    
TONY: Ah.  So the dog collar and the tats had nothing to do with it? 
(TOLLIVER WALKS O.S.)   
SHEPARD: DiNozzo, does he look in pain?    
TONY: I don’t know.  I’ve never seen Gibbs show pain, Director.    
SHEPARD: Doctor, is he in pain?  Doctor?    
GELFAND: Was this man a Marine?    
SHEPARD: Yes.  

 
GELFAND: Wounded in Desert Storm?    
SHEPARD: He has a Purple Heart.    
GELFAND: That’s it!  I treated him in Kuwait!    
TONY: Gibbs never told me he was wounded in Desert Storm.    
SHEPARD: Me either.  I saw his Purple Heart.    
GELFAND: He was in a coma when we evaced him to Frankfurt.  Now you talk about déjà vu.    
SHEPARD: But is he in pain?    
GELFAND: Certainly not extreme pain.  He may hurting, but the only way to know is for him to tell us.    
TONY: Why not give him painkillers just in case?    
GELFAND: I want him to wake up.  An opiate would only deepen his coma.    
SHEPARD: I’ve just never seen Jethro look like this.    
GELFAND: I have.  That’s why I remembered him.  That’s the expression he had in ninety-one.  It’s more anguish than pain.    
     
  CUT TO:     
     
 EXT. CEMETERY – DAY     
     
  (MONTAGE OF FLASHBACK SCENES)   
KELLY: I want to gallop, Daddy!    
SHANNON: No, Kelly.    
GIBBS: Ah, let her go, Shannon.    
SHANNON: Jethro…    
     
  (MUSIC UP AND OUT)   
   

 
 MUSIC IN:    
     
 INT. MTAC ROOM – DAY     
     
TONY: (INTO PHONE)  I’ve got a better chance of hooking up with Jessica Alba than these guys do of infiltrating SeaLift.  Every sailor has to go through a series of stringent security checks to be issued a special ID.    
STEVENS: (ON MONITOR) A hundred and ten civilian crews, DiNozzo.  Abu Saif only needs to slip a man in one.     
TONY: (INTO PHONE)  If Galib knew who that was or the name of the ship, why’d he run?  Why didn’t he just let us arrest him as planned?  Give us the intel and then continue undercover to Gitmo.    
STEVENS: (ON MONITOR) Either he didn’t know, but was close to finding out.  Or he was on to something big that an NCIS arrest would jeopardize.    
TONY: (INTO PHONE)  Well, what’s bigger than blowing up one of our ships?    
STEVENS: (ON MONITOR) Blowing up a port.  Ever hear of Port Chicago?    
TONY: (INTO PHONE)  No, but I saw the TV movie.  Michael Jai White is this guy who had – I see your point.    
STEVENS: (ON MONITOR)  Good.    
TONY: (INTO PHONE)   Is there any intel on the crew, especially this Pinpin Pula guy?  We need his photo for a BOLO.    
STEVENS: (ON MONITOR) We took surveillance photos of the crew when they were docked in Istanbul.    
TONY: (INTO PHONE)  Great.    
STEVENS: (ON MONITOR) If Galib had intel on Abu’s plans, did he have time to tell Gibbs?    
TONY: (INTO PHONE)  Maybe.  They were together when the bomb went off.    
STEVENS: (ON MONITOR) Galib was a good agent.  Let’s hope Gibbs comes out of this coma in time.    
TONY: (INTO PHONE)  He will.    
     
  CUT TO:     
     
 INT. CAFETERIA – DAY     
     
GELFAND: I ordered another CAT scan on the off chance that he hemorrhaged since the last one.  I think it’s unlikely.    
SHEPARD: So why are you doing it?    
GELFAND: Covering my ass.      
SHEPARD: You don’t strike me as the ass-covering type, Doctor.    
GELFAND: You know, I dislike this Doctor, Captain, Director formality.  I’m Todd.    
SHEPARD: Jenny.    
GELFAND: The truth is, Jenny, I’m puzzled.  Gibbs took a long time to come out of the coma in ninety-one.    
SHEPARD: You followed his case after he left Kuwait?    
GELFAND: Not until today.  From Frankfurt, he was air-vaced to Bethesda.  They faxed me his hospitalization records.  He was in a coma for nineteen days.    
SHEPARD: My god!    
GELFAND: That’s not terribly unusual.  But the tests weren’t typical of someone who was in a coma that deep.  I mean, his CAT scan didn’t reveal any cerebral damage.  His E-E-G was normal.  It’s the same as now.    
SHEPARD: How do you explain that?  

 
GELFAND: Sometimes patients don’t seem to want to wake up.  Any reason why Gibbs might be one of them?    
     
  MUSICAL BRIDGE TO:   
     
 INT. CAT SCAN ROOM – DAY     
     
  (MUSIC OVER ACTION)    
  (SFX: BEEP TONES)   
     
  MUSICAL BRIDGE TO:   
     
 EXT. BEACH – FLASHBACK     
     
  (MONTAGE OF FLASHBACK SCENES)   
AGENT FRANKS: This NIS Agent driving was hit with a head shot.  Your wife and daughter died in the crash. (SFX: GUNSHOT)   
KELLY: Mom’s got one!    
GIBBS: Not as big as ours!    
KELLY: It’s bigger, Daddy!    
SHANNON: Wow!    
AGENT FRANKS: Pedro Hernandez, the drug dealer your wife saw kill a Marine.    
     
  CUT TO:     
     
 INT. ABBY’S LAB – NIGHT     
     
MCGEE: Abby?  

 
ABBY: I’m in here.    
MCGEE: What are you doing?    
ABBY: I’m worrying. (SFX: DOORS SLIDE OPEN)   
MCGEE: Me, too.   You guys can just set that right there on the floor.  Thanks.    
  (SFX: FLATULENCE)   
  (SFX: GIGGLING)   
ABBY: What’s the matter?  Never heard a girl fart before?    
MCGEE: Guys, that was the hippo.    
ABBY: Are you sure, McGee?    
MCGEE: Yeah, because you sound more… feminine.    
ABBY: Like a hippo cow?      
  (SFX: BEEP TONES)   
ABBY: What aren’t you telling me?    
MCGEE: What do you mean?    
ABBY: You have that three little pigs look.    
MCGEE: What?    
ABBY: The three little pigs.  They were afraid to open the door because the big fat wolf was outside.    
MCGEE: I have no idea what you’re talking about.    
ABBY: Whoa.  This is definitely going on my wall.    
ZIVA: I should be a professional photographer.    
ABBY: The Director hasn’t called.    
ZIVA: About?    
ABBY: About?  Gibbs?    
ZIVA: Oh!    
ABBY: She didn’t call you, did she?    
ZIVA: No.    
ABBY: ‘Cause you know the way you’re acting, you might have just, I don’t know, forgotten to tell us!    
MCGEE: Ziva, do you notice anything different in here?  

 
ZIVA: No music.    
MCGEE: That’s it.  No music.  You know, you usually play music in here.    
ABBY: What if those were Gibbs’ guts smooshed all over that room.    
ZIVA: Oh, for God’s sake, Abby.  They’re not.    
ABBY: I said, what if they were!?    
ZIVA: The color would be more coffee brown than red.    
  (SFX: ABBY AND ZIVA SLAP EACH OTHER)   
     
  CUT TO:     
     
 INT. AUTOPSY ROOM – DAY     
     
DUCKY: His skull was shattered when the explosive blew him against the overhead, as if he were fired from a cannon.    
TONY: The oil drum.    
DUCKY: Precisely.   Now don’t ask me what our guest was doing in an oil drum, sitting on a bomb because I haven’t the foggiest.    
TONY: Hmm.  No other explanation?    
DUCKY: Well, none that would explain these remains.    
TONY: I need a positive I.D. on this body, Duck.    
DUCKY: Well, DNA tissue is in Abby’s capable hands.  How’s Jethro?    
TONY: Still out.  The Director’s with him.    
DUCKY: I’d best get down to Portsmouth.    
TONY: Not until you finish the autopsy.  And while you’re at it, why don’t you ask your guest what he was doing sitting on an oil drum on a bomb.    
  (SFX: DOORS SLIDE OPEN)    
DUCKY: You sound like Gibbs.  What were you doing in that oil drum?  Hmm?    
     
  CUT TO:     
     
 INT. CORRIDOR – DAY     
     
  (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN/ CLOSED)    
  (TONY AND MCGEE COLLIDE)   
MCGEE: Oh, boy!  Tony, I’m sorry.  I’m so sorry!  Sorry.  Sorry.  I’m sorry, Tony. 
(SFX: ELEVATOR DINGS/DOORS SLIDE OPEN)    
     
  CUT TO:     
     
 INT. ELEVATOR – DAY     
     
TONY: Hate the sight of blood, Probie?  Too bad. (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED)    
MCGEE: Oh, boy.    
TONY: Handkerchief.     
MCGEE: I don’t have one.    
TONY: Whatever you came to say better be pretty damn important.    
MCGEE: Abby slapped Ziva, and Ziva slapped her back.    
TONY: Damn!  I missed it!  All right. (SFX: ELEVATOR DINGS/DOORS SLIDE OPEN)    
     
  CUT TO:     
     
 INT. SQUAD ROOM – DAY     
     
TONY: Assemble the team including Abby.    
MCGEE: Abby?   (PAUSE)    
 Right.    
  (SFX: ELEVATOR DINGS/DOORS SLIDE CLOSED)    
     
 INT. BATHROOM – DAY     
  (RUNNING WATER)   
DUCKY: (V.O.)  Which hospital?  Portsmouth?  You didn’t ask?!  Oh, Ziva.  I’m not implying that you don’t care.    
ABBY: (V.O.)  The way you’re acting, you might have just, I don’t know, forgotten to tell us.  What if those were Gibbs’ guts smooshed all over that room?    
GELFAND: (V.O.)  I don’t have an answer.    
     
  CUT TO:     
     
 INT. CORRIDOR – DAY     
     
GELFAND: His EEG is normal.  His new CAT scan is normal.  How well do you know Gibbs?    
SHEPARD: He was my mentor at NCIS.  He taught me most of what I know.    
  (DOOR OPENS)   
GELFAND: Yet you’re his boss.    
SHEPARD: Jethro’s a great field agent.  He’s a great team leader.  And he deals more efficiently with  difficult politicians than I do.    
GELFAND: Well why isn’t he the…    
SHEPARD: He shoots them.    
GELFAND: So you didn’t know him when he was wounded in Desert Storm?    
SHEPARD: No.    
GELFAND: He seems to be repeating that trauma, a coma he doesn’t want to wake up from.  In the morning I’m going to try to find the neurologist who was on his case in ninety one.    
SHEPARD: Well, why wait until the morning?  Forgive me.      
GELFAND: Yeah.    
SHEPARD: I’m… just tired.    
GELFAND: I can arrange a cot for you, I’m sure.    
SHEPARD: No.  I have been away from my office far too long.      
     
  CUT TO:     
     
 INT. NURSES’ STATION – DAY     
     
SHEPARD: I’ll find someone who knew Jethro back then.    
GELFAND: That’d be helpful.    
SHEPARD: Here are all my numbers.  And my cell.    
GELFAND: I’ll call you with an update at zero-nine-hundred,   earlier if he shows any signs of waking up.  It was good to meet you, Jenny.  Not under the circumstances, of course.  But … good nevertheless.    
  (SHEPARD WALKS O.S.)   
     
  MUSICAL BRIDGE TO:   
     
 INT. LIVING ROOM – FLASHBACK     
     
  (BEGIN MONTAGE OF FLASHBACK SCENES)   
   

 
GIBBS: Cover your eyes!    
KELLY: I’ve seen you and Mommy kiss!    
GIBBS: Oh, this is scary kissing.    
KELLY: Like kissing a frog?    
GIBBS: Cover up! (MONTAGE OF FLASHBACK SCENES CONTINUING)   
FRANKS: Much as I’d like to, I can’t tell you where the bastard’s hiding, Gunny.    
GIBBS: I didn’t ask you to, Special Agent Franks.    
FRANKS: I’m going to take a leak.    
     
  (MUSIC UP AND OUT)   
     
 FADE IN:    
     
 INT. SQUAD ROOM – MORNING     
     
  (SFX: DOORS SLIDE OPEN)    
ZIVA: Pay up, McGee.  Hey!    
TONY: In a bet on me, I collect.  Abby!  Front and center.  You too, Ziva.  Let’s go!  I know what happened.    
ZIVA: Look, she slapped me and I was just slapping her--    
ABBY: (OVERLAP) Ziva slapped me and I --    
TONY: Hey!  If there’s going to be any bitch-slapping on this team, I’ll do it.  Clear?  Good.  Now shake hands.  Shake.  There we go.  That wasn’t so tough, was it?  And how about a little hug.  Big buddy hug.  Come on.  There we go.  Come on.  Now a deep tongue kiss.  

 
  (ABBY AND ZIVA PUNCH TONY)   
TONY: Oh!  Now we feel better.  All right, what do you got, McGee?    
MCGEE: We’ve got Singapore’s surveillance photos on the Bakir Kamir crew.    
ZIVA: Make me hard copies, McGee.  Captain Mahir will identify Pinpin Pula for the BOLO.    
MCGEE: What makes you think he won’t lie?    
TONY: Abby.    
ABBY: Um… the taggant traces on the metal fragments were Semtex from the Czech Republic.  Khadafi, before we bombed him, was handing out Semtex like taffy to any terrorist with a sweet tooth.     
TONY: That eliminates my washing-machine malfunction theory.  DNA results?    
ABBY: They should be in by now.    
TONY: What are you doing here?    
ABBY: Um… somebody called a conference.    
MCGEE: You don’t think that’s Galib in autopsy?  (BEAT)  He wants to be sure.    
ABBY: I’ve asked Tel Aviv if Captain Mahir is a blimp on their radar.     
TONY: Blip.    
ABBY: DNA confirms the body in autopsy is NCIS Agent Abog Galib.    
TONY: Okay.  Any hits on the BOLO?    
MCGEE: Too many without photos.  LEOs are calling in reports on every Filipino sailor in the area.    
TONY: Did you run them down?    
MCGEE: Tony, there’s two hundred and fifty thousand Filipino sailors.  It’s more than any nationality in the world.  The way the reports are coming in you would think that they’re--  

 
TONY: Hey!  I don’t want to hear how tough it is, McGee.  I want you to run them down!    
MCGEE: Stop playing Gibbs!  There!  You’re doing it right now!  Ziva, will you help me out here?    
ZIVA: It’s true, Tony.  You’re even getting a little grey around the… around the temples.    
ABBY: You’re not Gibbs, Tony.    
TONY: You’re right.  Acting like Gibbs doesn’t make me the boss.  Being senior agent does.  So if drinking coffee, staring or whacking the back of your head helps me lead this team, live with it!    
     
  CUT TO:     
     
 INT. ICU ROOM – DAY     
     
BALIAD: Good morning, Agent Gibbs.  The rain stopped.  It’s going to be a beautiful day.    
  (SFX: BALIAD GASPS)   
DUCKY: Oh, I’m sorry.  I didn’t mean to startle you.  I’m Doctor Mallard.  I overheard you talking and I thought he might be awake.    
BALIAD: I always talk to my patients.    
DUCKY: Me, too.    
BALIAD: Are you a neurologist, Doctor?    
DUCKY: Medical examiner.    
BALIAD: Oh.    
DUCKY: Mine never wake up, but still I talk to them.    
  (BALIAD WALKS O.S.)   
DUCKY:

DUCKY: Well, Jethro, I’d have been here sooner only DiNozzo insisted I finish the autopsy on Agent Galib.  It’s fascinating.  I mean, the poor man was literally blown out of a barrel.

(CONT.)   It reminded me of when my mother and I visited her brother Carkin in the little town of Clagolaky.  Yes, Carkin worked at the cooperage where they make all the casks for the various distilleries.     
     
  CUT TO:    
     
 INT. INTERROGATION ROOM – DAY     
     
MAHIR: Are you Turkish?  Perhaps your father or grandfather was Turkish?  Before they come to America?    
     
  CUT TO:     
     
 INT. OBSERVATION ROOM    
     
TONY: Can you see Ziva as a belly dancer?  He brought it up.    
MCGEE: Why?  Because he asked if she was Turkish?    
TONY: From Russia with Love.  Bond is ordered to Turkey to steal the Lector machine from this beautiful, I mean, is there any other kind in a James Bond movie – defecting Russian double agent,  Tatia Romaniva – played by Daniela Bianchi.    
     
  CUT TO:     
     
 INT. INTERROGATION ROOM     
     
MAHIR: Greek.  You are Greek?  Greek!  That’s why you hate me.    
ZIVA: I am not Greek.    
MAHIR: Greek Cypriot!  It would explain your understanding Turkish and hating me.  

 
ZIVA: I doubt Cyprus has a liaison officer in the U.S.  But… you are getting warm.    
MAHIR: Liaison?    
ZIVA: From the French word “lier” which means to bind.  In this case, bind NCIS and Mossad.    
MAHIR:   (IN TURKISH)  God help me!    
ZIVA: (IN TURKISH)  Too late, Captain.  (IN ENGLISH)  I have your dossier.  Another French word.    
     
  CUT TO:     
     
 INT. OBSERVATION ROOM    
     
TONY: Dean Keaton!   That’s it!  Dean Keaton is the name of the character Gabriel Byrne plays in The Usual Suspects.  I knew it would come to me.    
     
  CUT TO:     
     
 INT. INTERROGATION ROOM     
     
MAHIR: I am not a terrorist!  I did not smuggle weapons into Palestine.  I swear it.    
ZIVA: Or Hamas suicide bombers into the port of Ashdod?    
MAHIR: Mossad blames me for that, too?    
ZIVA: And much more.    
MAHIR: Now look, I am not a terrorist!  No Wahabi!  I fight no Jihad!    
ZIVA: You profit from it, you swine!  And for that, you should die!  (BEAT) Fortunately for you, Captain Mahir, Politique Pratique has suspended Israeli reprisals against all but terrorists.  And you say you are not terrorist.    
MAHIR: I swear by God!    
ZIVA: Convince me.    (SFX: ZIVA SPREADS THE PHOTOS)   
ZIVA: Pinpin Pula.    
     
  CUT TO:     
     
 INT. OBSERVATION ROOM    
     
TONY: Lisa Guiraut plays one of those belly dancing women.  Very hot.  She’d be a grandmother by now.    
MCGEE: Oh, wait a second.  Okay.  Ziva looks like her, which is--?    
TONY: Shh!  Pay attention, Probie.  Ziva’s about to get a photo for the BOLO.    
     
  MUSICAL BRIDGE TO:   
     
 INT. ICU TRAUMA ROOM     
     
DUCKY: Winning the Scotsman Chess Trophy was the highlight of my Lower Sixth year.  I didn’t compete in Edinburgh.  No, no.  I was too distracted by this we--     
GELFAND: It is impolite of me to eavesdrop, Doctor Mallard, but I was fascinated by your story.  Nurse Baliad told me your name and your specialty.  I’m Doctor….    
DUCKY: Doctor Gelfand.  Chief Neurologist.  Yes, the Director told me.    
GELFAND: Ah.  Well, how is our patient?    
DUCKY: Still comatose, I’m afraid.    
GELFAND: Were you aware that he was in a coma for nineteen days during Desert Storm?    
DUCKY: No.    
GELFAND: He never told you?    
DUCKY: Well, Jethro doesn’t talk much about the past.  I consider us to be close friends, but I know very little about his life before we met.    
     
  MUSICAL BRIDGE TO:   
     
 BEGIN MONTAGE OF FLASHBACK SCENES    
     
  (MUSIC OVER MONTAGE OF CENTRAL AMERICAN FLASHBACK SCENES)    
     
  CUT TO:     
     
 EXT. DIRT ROAD – FLASHBACK    
     
  (MUSIC OVER ACTION/TRUCK DRIVING)   
  (SFX: GUNSHOT)   
  (SFX: GIBBS SHOUTS)   
     
  CUT TO:     
     
 INT. TRAUMA ICU – DAY     
     
  (SFX: GIBBS BOLTS UPRIGHT FROM THE BED/ GASPING)   
GELFAND: You’re in a hospital!  Relax!    
DUCKY: Don’t fight it, Jethro!    
GELFAND: Relax.  Relax.  You’re all right.  Can you blink?!  All right.  Raise your thumb.  Raise your thumb.  Good.  Good.  Do you want the tube out? All right.  All right.  Hold still.  Hold still.    
NURSE: Okay, relax.    
GELFAND: Okay, breathe.  You’re fine.    
NURSE: That’s it.    
GELFAND: I am Doctor Gelfand.  This is Nurse Baliad.    
BALIAD: Maria.    
GELFAND: Of course you know Doctor Mallard.    
DUCKY: He calls me Ducky.  Welcome back, Jethro.  Yeah, we’ve all been a bit concerned.  You shouldn’t frighten us like this.    
GELFAND: You have a question?    
GIBBS: (GASPING)  Where am I?    
GELFAND: You’re in Portsmouth Naval Trauma Center.   You were in an explosion.    
NURSE: Relax.  Cover your face.      
GIBBS: I remember.    
GELFAND: Good.  Very good.  Most people never remember the trauma.    
GIBBS: I… I don’t know him.    
     
  (MUSIC OUT)   
     
 TO BE CONTINUED….    
     
  (ENDING CREDITS UP AND OUT)   
     
   
 

  (MUSIC UP OVER ENDING CREDITS AND OUT) 
* * * * * * * *

Prepared by C.C.   Printed in USA
Calvert Continuities   Aired 5/9/06