NAVY NCIS
Production 008

“MINIMUM SECURITY”

 MUSIC IN:

 EXT. COUNTRY ROAD – DAY

BIKER CHICK: You promised I’d be back by now.
BIKER: Don’t get your thong in a knot.
BIKER CHICK: Yeah, well if my old man finds out I’ve been biking with you, he’ll kill us both.
BIKER: If your man was a man, I might be worried.
BIKER CHICK: Wayne, you‘ve got to get me back. I’m serious.
BIKER: I’ll get you a ride. (CAMERA ANGLE ON CAR AS THE CAR DRIVES CLOSER)
BIKER CHICK: What if he doesn’t stop?
BIKER: Oh he’ll stop. (SHOUTS) Hey! Stop!
(SFX: CAR CRASH)
(BIKER SHOUTS)
BIKER: You stupid bastard, when I get through with you, you’re gonna wish you were…. dead. (LONG BEAT) He’s dead.

(MUSIC OUT)

(THEME MUSIC UP OVER OPENING TITLE/SCENES/ CREDITS AND OUT)

 FADE IN:

 INT. AUTOPSY ROOM – DAY

“MINIMUM SECURITY”

DUCKY: Massive internal bleeding in the abdominal cavity, Gerald. That’s enough. My young friend, you must have been in acute pain…for many hours. What kept you from seeking help, I wonder? Run the gut for me, would you please, Gerald?
GERALD: Not a problem.
DUCKY: It was definitely a blockage. It’s strange, though. It seems to consist of a cluster of objects.
GERALD: Gall stones?
DUCKY: Oh, my no. Gallstones that large could never pass through the cystic duct. And even if they did, they wouldn’t all be expelled at the same time. Although I did find a gall bladder once with almost a kilo of large stones. Of course the victim was a sumo wrestler who weighed over two hundred kilos. He was in the middle of a bout – he just went…

(DUCKY MAKES DEATH F/X)
GERALD: They’re stones, Doc.
DUCKY: Not gall stones.

(PASSAGE OF TIME)

DUCKY: (V. O. ) Emeralds. It was lodged in his gastrointestinal tract causing perforation of the peritoneum, internal bleeding, infection and death.
GIBBS: He swallowed emeralds.
DUCKY: He did indeed.
GIBBS: I’m going to take a wild guess here, Doc. He smuggled them into the country.
DUCKY: It’s from where he smuggled them in, Jethro. Our sailor had just arrived from Guantanamo Bay, Cuba, where he was a translator.


 CUT TO:

 INT. NCIS SQUAD ROOM – DAY

KATE: Petty Officer Second Class Kahlil Sa’id. Naturalized American citizen, born in Egypt. Worked as a translator at Camp Delta. Fluent in Arabic, Uyghur and Pashto. Died in his car on Route Five Twenty Two near Fredericksburg. Almost killed a pair of bikers.
TONY: Vroom vroom bikers or pedal bikers?
KATE: I said bikers, Tony. Not cyclists.
TONY: Bikers is a term that refers to all cyclists. . . .
GIBBS: Next of kin?
KATE: None in the States. No US address either. And apparently he rotated from our Naval Station in Bahrain to Gitmo five months ago.
GIBBS: Where did he get those emeralds?
TONY: Gitmo Exchange. Sorry.
GIBBS: Get your gear. We’re going to Gitmo.
TONY: Ha. Ha. That’s a good one, boss. He was kidding, right?
KATE: I don’t think so.
TONY: We’re going to Cuba? ! (TONY LAUGHS)

 MUSICAL BRIDGE TO:

 INT. NCIS LAB – DAY

ABBY: Hey, Gibbs. I’ve got a gemologist coming over to look at the rocks. It’s my mother’s friend’s sister’s son.
GIBBS: Does he know his stuff?
ABBY: I went out with him like once. Didn’t get very far.
GIBBS: Is this all from the car?
ABBY: Yeah. It was a rental.
GIBBS: Any classified material?
ABBY: Not in the suitcases.
GIBBS: He would’ve swapped his hard drive before he left. Check it anyway.
ABBY: These were in the suitcase. Stamped, no postmark. All the same return address.
GIBBS: NCIS Special Agent Paula Cassidy.
ABBY: You know her?
GIBBS: No. But I will.
ABBY: Okay, smell this.
GIBBS: Does this turn you on, Abby?
ABBY: It turned somebody on. Box of condoms, half empty. The price tag says they’re from the Gitmo Exchange. Maybe… maybe it was a package deal.
GIBBS: See if you can brand the cologne.
ABBY: You want some?
GIBBS: Nope, don’t use cologne. Women I date think the smell of saw dust is sexy. That’s why I don’t date very many women.

 CUT TO:



 INT. ELEVATOR – DAY

(SFX: ELEVATOR DINGS)
TONY: Oh! Sorry.
GIBBS: You had better have a good reason for spilling my coffee.
TONY: I do. I booked us on the first A-M-C flight to Gitmo tomorrow.
GIBBS: Un-book it.
TONY: Ha ha! I knew it! I told her you were pulling my leg.
GIBBS: Navy’s giving us a priority ride today.
TONY: You mean it? You do mean it. (ELEVATOR DINGS)
(ELEVATOR DOORS SLIDE SHUT)
TONY: Normally I hate priority rides, but who cares if it’s going…
GIBBS: What’s wrong with priority rides?
TONY: Come on, boss. You tell me you like sitting on canvas seats slung between cargo pallets?
GIBBS: Yeah, it makes me feel like I’m back in the Corps.

 CUT TO:

 EXT. AIRFIELD – DAY

(ACTION CONTINUES/JET TAKES OFF)

 CUT TO:



 INT. JET – FLYING

TONY: Oh, I love priority rides! Boss this is the best!
GIBBS: I miss canvas seats.
TONY: Check this out. What do you want?
GIBBS: Get to work.
TONY: I already started. (READS) “Guantanamo enjoys a year round tropical climate cooled by the breezes from the Windward Passage. Some of the more popular pastimes include skin diving, sunbathing and horseback riding. ”
KATE: I would be the last one to rain on your parade, Fidel, but you’re logged onto an official Navy website. It’s P. R.
GIBBS: This isn’t. It’s the NCIS file on Special Agent Paul Cassidy. She’s an interrogator at Camp Delta. Special Agent Cassidy is not to know that Sa’id is dead.
KATE: We’re not working with her?
GIBBS: Sa'id was carrying five unmailed letters of hers. Until we find out how she was involved with him, she’s out of the loop.
TONY: I can’t believe we’re in a forty million dollar Gulfstream. I mean, it’s got to be C. N. O. ’s or SECNAV’s. You know, Tiger Woods has one of these. Tom Cruise – all the big movie stars. This is their ride.
GIBBS: Tony?
TONY: Yeah, boss?
GIBBS: Can we get to work?
TONY: Sure thing. Just check this out. (LAUGHS) It’s a Gulfstream.

 MUSICAL BRIDGE TO:

 EXT. AIRFIELD – DAY

KATE: So much for the element of surprise.
CASSIDY: Welcome to Gitmo. I’m Special Agent Paula Cassidy.
GIBBS: Special Agent Jethro Gibbs. Special Agent Kate Todd.
KATE: Hi.
CASSIDY: How are you?
GIBBS: Special Agent Anthony DiNozzo.
TONY: Hey.
CASSIDY: Hello. I heard you all were coming. Nice ride.
TONY: You are so right there.
CASSIDY: This is yours. There’s a map in it. They put you up in one of the nicest houses on the base.
GIBBS: I appreciate that Special Agent Cassidy.
CASSIDY: So is there something going down that I should know about?
GIBBS: No.
CASSIDY: It’s just that all my transcripts have been pulled, my interrogations have been cancelled, and then you all arrive on the Navy Gulfstream. How would you connect the dots? (CAR DOORS OPEN/CLOSE)
GIBBS: I wouldn’t.
(SFX: CAR STARTS)
CASSIDY: Okay. Enjoy your stay.

 MUSICAL BRIDGE TO:

 INT. AUTOPSY LAB – DAY

(MUSIC OVER ACTION/ABBY CHECKS THE SPECIMENS)

 CUT TO:

 EXT. TRACT HOME – DAY

(SFX: CAR TRUNK CLOSES)
(GIBBS/ TONY AND KATE WALK TO THE FRONT DOOR)

 CUT TO:

 INT. TRACT HOME – DAY

(DOOR OPENS)
GIBBS: Okay. We’ll set up here. Tomorrow morning we’ll be joined by the senior FBI translator covering transcripts of Sa'id’s translations. The interrogator was Special Agent Cassidy.

 CUT TO:

 INT. BEDROOM

TONY: No way!
KATE: It’s the only bedroom with a bath.
TONY: I know. And I picked it first.
KATE: Women take baths. Men take showers, Tony.
TONY: Why does the woman thing come up when a ship is sinking or when there’s only one bedroom with a bath?

 CUT TO:



 INT. NCISLAB – DAY

GIBBS: (V. O. /FILTERED) Gibbs.
ABBY: (INTO PHONE) Well, you were right about Sa'id’s laptop. System’s virgin. (BEGIN TELEPHONE INTERCUTS)

(SCENE CUT)

GIBBS: (INTO PHONE) Yeah, we’ll track down the hard drive he had here and ship it to you. When’s your rock boy coming?

(SCENE CUT)

ABBY: (INTO PHONE) In the morning.

(SCENE CUT)

ABBY: (V. O. /FILTERED) My mother’s very excited.
GIBBS: (INTO PHONE) Find anything else?

(SCENE CUT)

ABBY: (INTO PHONE) Yeah, I picked up another scent on his shorts and his t-shirts.

(SCENE CUT)

GIBBS: (INTO PHONE) What did Sa'id do, bathe in the stuff?
ABBY: (V. O. /FILTERED) No, it’s not his.

(SCENE CUT)



ABBY: (INTO PHONE) It’s uh… peach and musk with vanilla as a top note.

(SCENE CUT)

ABBY: (V. O. /FILTERED) It’s definitely feminine.
GIBBS: (INTO PHONE) Well, tag it.

(SCENE CUT)

ABBY: (INTO PHONE) Perfume is expensive, Gibbs. I can’t just hang out at…

(SCENE CUT)

ABBY: (V. O. /FILTERED) …the Macy’s tester tray with my lab kit.

(SCENE CUT)

ABBY: (INTO PHONE) They frown on that sort of behavior.

(SCENE CUT)

GIBBS: (INTO PHONE) Buy whatever you need. We’ll deal with it later.

(SCENE CUT)

ABBY: (INTO PHONE) Bold, Gibbs. Bold. (END TELEPHONE INTERCUTS)

 CUT TO:



 INT. LIVING ROOM

KATE: We’re finished.
TONY: But we need to talk to you, Boss.
GIBBS: Whatever. It’ll have to wait ‘til the morning.
KATE: Well, it’s kind of important.
GIBBS: I appreciate that. I’m going to bed. Talk to you mañana.
(GIBBS WALKS INTO THE BEDROOM/TOSSES THE LUGGAGE INTO THE HALLWAY)
(DOOR CLOSES)
TONY: Any preference on the remaining bedrooms?
KATE: No. Both equally crappy. You pick.
TONY: Ladies first. Night! (DOOR CLOSES)

 CUT TO:

 INT. BEDROOM – MORNING

(TONY AWAKENS)
(TONY JUMPS UP AND SHOUTS)
TONY: Halt!
(DOOR OPENS)
(GIBBS AND KATE RUSH INTO THE ROOM)
(TONY GASPS)
GIBBS: I need coffee.

 CUT TO:



 INT. NCIS LABORATORY – DAY

(MUSIC PLAYS B. G. )
BENJAMIN: Where’d you get this, Abby?
ABBY: If I told you I’d have to kill you, Benjamin. This is very sweet, but you did not have to bring me a gift.
BENJAMIN: Oh, I wanted to. Your mother said it was something you could use.
ABBY: Oh, right on. Thanks! Benjamin, this is…this is great. (BEAT) So the emerald. Is it real?
BENJAMIN: Oh, it’s very real. Color grade two point five, tone one to two, clarity I-one. It’s at least worth twenty thousand. And the color is quite distinct. It’s bluish apple green. And the fluid inclusions are quite different from Colombian stones. This emerald was mined in the Panjshir Valley.
ABBY: Where’s that?
BENJAMIN: Afghanistan.

(MUSIC OUT)

 MUSIC IN:

 EXT. TRACT HOME – DAY

(CAR SLOWS TO A STOP)
GIBBS: William Gamal.
GAMAL: It’s Bill. Senior translator, Camp Delta.
GIBBS: We’ve been expecting you. Special Agent Gibbs, Special Agent DiNozzo and Todd.
TONY: When the FBI relaxes the dress code, they sure go for it.


GAMAL: These are the transcripts of the interrogations of Nasir Al Jazair you requested.
GIBBS: The translator was Sa'id?
GAMAL: That’s right. Apparently there’s a problem?
GIBBS: Did you know him?
GAMAL: Only to say hello. He worked with the interrogator Paula Cassidy.

 MUSICAL BRIDGE TO:

 INT. TRACT HOME – DAY

GAMAL: You might want to think about keeping that door shut. Iguanas have been known to wander inside.
(DOOR CLOSES)
GIBBS: Nasir arrived in June from Afghanistan.
GAMAL: Yes. Insists he was picked up by mistake.
TONY: Ha. Weren’t they all?
GAMAL: Agent Cassidy did especially well with the subject. Younger detainees feel more comfortable with female interrogators. Once rapport has been established, the prisoner is only interrogated by that team. I understand Agent Cassidy is not in the loop on this?
GIBBS: Correct.
GAMAL: I’ll put you in an interrogation room for this afternoon.
GIBBS: Well, we better get started.
(GAMAL WALKS O. S. )
(DOOR CLOSES)


GIBBS: Okay, I want to know more about Agent Cassidy. Who her friends are in Gitmo. How she spends her free time. Where she hangs out. Was she involved with Sa'id.
TONY AND KATE: Sure. No problem.
GIBBS: Did I say both of you?
KATE: Well, you didn’t not say both of us, Gibbs.
GIBBS: Yes, she’s kind of got a point there, boss.
KATE: Yeah, well I’m saying it now. DiNozzo, you go. Kate stay here and help me with this.
TONY: Got it.
(DOOR CLOSES)
KATE: Do you mind telling me why he--
GIBBS: Yeah.

(PASSAGE OF TIME)

TONY: Agent Cassidy has a lot of friends, I’ll say that. Mostly male friends and mostly either interrogators or translators.
GIBBS: Where’s she hang?
TONY: A club on Base called El Foridita.
GIBBS: Check it out. Observe her if she’s there.
TONY: Can I drink?
GIBBS: Sure. Sarsaparilla.
TONY: Sarsaparilla? Who drinks sarsaparilla?
GIBBS: Shane.
TONY: Who’s Shane.
KATE: Alan Ladd.
TONY: Who’s Alan Ladd?
GIBBS: Maybe you should check her out, Kate.
TONY: I’m on it!

 MUSICAL BRIDGE TO:

 EXT. CAMP DELTA YARD – DAY

(TRUCK SLOWS TO A STOP)
(VOICE OVER P. A. B. G. )
GAMAL: Where is Agent DiNozzo?
GIBBS: Drinking sarsaparilla. (CAR DOORS OPEN/CLOSE)
GAMAL: They’re bringing Nasir down as soon as the evening prayers are finished.
KATE: Why aren’t you praying?
GAMAL: I’m Presbyterian.

 MUSICAL BRIDGE TO:

 INT. DETENTION FACILITY – DAY

(CELL DOOR OPENS)
GIBBS: How do you say good cop, bad cop in Arabic?
GAMAL: I learned my Arabic at the defense Language Institute in Monterey. That phrase wasn’t in the syllabus. Nasir should be here in about five minutes.
GIBBS: (TO KATE) Watch his body language.
(KATE WALKS TO THE OBSERVATION)

(GIBBS AND GAMAL WALK INTO THE INTERROGATION ROOM)

GAMAL: Fortunately Nasir speaks some English.

 MUSICAL BRIDGE TO:


 EXT. CLUB EL FLORIDITA – NIGHT

(MUSIC OVER ACTION/MUSIC AND DANCING B. G. )

BARTENDER:…so Jack Palance shoots Elisha Cook. The slug lifts his body off the ground and splat right into the mud.
TONY: Elisha Cook?
BARTENDER: Have you ever seen the “Maltese Falcon”?
TONY: Nope.
BARTENDER: You young people don’t know what good movies are. All this violence, today. It’s so sad.
TONY: Splat isn’t violent?
CASSIDY: What’re you drinking?
TONY: Sarsaparilla.
BARTENDER: Root beer.
CASSIDY: So you’re on duty?
TONY: Maybe I just like sarsaparilla.
CASSIDY: Cosmo, Jimmy.
BARTENDER: Coming up.
TONY: It’s funny. I knew you were going to order a Cosmo.
CASSIDY: Are you here to check me out?
TONY: Define “checking out. ”
CASSIDY: Come on. What are you doing here?
TONY: Straight up?
CASSIDY: No. I want you to lie to me.


TONY: You turn me on. Here, let me pay.
CASSIDY: No, thanks. I buy my own drinks. (CASSIDY WALKS O. S. )
TONY: So… Jack Palance shoots Elijah Wood.

 CUT TO:

 INT. INTERROGATION ROOM

(DOOR CLOSES)
NASIR: (IN ARABIC) Who are you people?
GAMAL: He asks who we are.
GIBBS: Name is Gibbs. U. S. Naval Criminal Investigative Service. Sit down.
NASIR: Where is Paula?
GIBBS: She’s been replaced. By me.
NASIR: Why?
GIBBS: I think you know why.
NASIR: No.
GIBBS: Sit down, Nasir, and I’ll tell you why.
(NASIR SITS)
GIBBS: Sa'id is dead.
(NASIR PRAYS QUIETLY)
GAMAL: He’s praying.

 CUT TO:

 INT. NIGHTCLUB – NIGHT

(MUSIC OVER ACTION/CASSIDY DANCES)
TONY: Miss me?
CASSIDY: Like herpes.


TONY: Now that confuses me.
CASSIDY: Really?
TONY: Absolutely. If you don’t like me, then why did you come over here for refills?
CASSIDY: Jimmy? (TO TONY) I like the game.
TONY: Me, too.
CASSIDY: Your move.
TONY: You’ve been here eight months and you haven’t hooked up.
CASSIDY: How do you know?
TONY: You’ve danced with five different guys. Nothing going on with any of them.
CASSIDY: You’re counting the men that I’m dancing with?
TONY: I’m the jealous type.
CASSIDY: Oh. Jimmy, does he look like the jealous type?
JIMMY: I thought so.
TONY: See?
JIMMY: He flashed his badge when I wouldn’t answer any questions about you.
TONY: More info than she needed, Jimmy.
CASSIDY: Oh, I’m disappointed.
TONY: What if I told you I was checking out the competition?
CASSIDY: I’d say you were lying.
TONY: No, it’s true. I am checking out the competition.
CASSIDY: For your investigation.
TONY: And for me.
CASSIDY: So what are you going to write in your report?
TONY: That you have rules about hooking up with men you work with. Accurate?
CASSIDY: Incomplete. I have rules about guys that investigate me, too.
TONY: Never broken a rule?
CASSIDY: Have you?


TONY: If the risk is worth it. Jimmy, un tequila y una cerveza, por favor.
JIMMY: Si, señor.
TONY: Let’s dance.

 CUT TO:

 INT. INTERROGATION ROOM – DAY

NASIR: Sa'id was a good man. He gave me hope I would see my family again. He said America does not hate Islam. (V. O. ) That Allah knows we are here.
GIBBS: Don’t you want to know how he died? Or have you guessed?

 CUT TO:

 INT. OBSERVATION ROOM

KATE: He guessed.

 CUT TO:

 INT. INTERROGATION ROOM

NASIR: How would I know? We have no contact here with the outside world.
GIBBS: He swallowed these. They killed him. I think he got them from you.
NASIR: I don’t understand.
(GAMAL TRANSLATES INTO ARABIC)
(NASIR RESPONDS IN ARABIC)
GAMAL: He says he’s never seen them before.
(NASIR SPEAKS IN ARABIC)
GAMAL: He would like to return to his cell so he can pray for his friend’s soul.
GIBBS: Tell him he’s not going back to his cell. He’s being transferred to isolation.
(NASIR JUMPS UP SHOUTING)
GAMAL: He says he was promised a transfer to minimum security.
GIBBS: Who promised him that?
GAMAL: Special Agent Cassidy.

 CUT TO:

 INT. CLUB

(MUSIC OVER TONY AND CASSIDY DANCING)
(PHONE RINGS)
TONY: One sec. (INTO PHONE) DiNozzo. Be there in five. (TO CASSIDY) I’m back on duty.
CASSIDY: Well that’s too bad.
TONY: So are you.

(MUSIC OUT)

 FADE IN:

 INT. LIVING ROOM

GIBBS: Why did you recommend transferring Nasir to minimum security?

CASSIDY: Reward for cooperation. That’s the idea around here.
GIBBS: We’ve read the transcripts. He didn’t tell us anything we didn’t know.
CASSIDY: Well, that’s not the point. He told us all that he knows.
GIBBS: Are you sure?
CASSIDY: It’s a judgment call. But we get a lot of flak around here for holding people too long. Are you going to tell me what’s going on?
GIBBS: Are you going to tell us what was going on between you and Sa'id?
CASSIDY: We worked together. That’s all.
GIBBS: These were found in Sa'id’s luggage.
CASSIDY: Well he was going to put them in the mail for me.
GIBBS: You couldn’t find the post office?
CASSIDY: Mail is slow out of Gitmo. Sa'id was on his way to the States and I asked him to throw them in the mail for me.
GIBBS: Do you mind if we open them?
CASSIDY: Yes, I mind. They’re private.
GIBBS: We’ll get a court order.
CASSIDY: What the hell is this about? Why do you have these letters? Something happened to Sa'id?
GIBBS: He’s dead.
CASSIDY: Oh, my god. How? What happened? (BEAT) Tell me how he died!
GIBBS: Internal bleeding from a perforated bowel caused by the presence of hard objects in his intestines.
CASSIDY: Hard objects? What the hell is that supposed to mean? Look, I have been a damn good NCIS Agent for over six years now. I really don’t deserve to be treated like this.


GIBBS: All we asked is can we open these letters.
CASSIDY: Sure. Go head. Open the damn things.
GIBBS: Thank you.
CASSIDY: They’re to my family. Would you like to search my apartment while you’re at it?
GIBBS: I would.
CASSIDY: Okay. (TONY WALKS PAST CASSIDY)
TONY: Sorry, Paula.
GIBBS: Check out Sa'id’s apartment, too.

 MUSICAL BRIDGE TO:

 EXT. APARTMENT BUILDING – NIGHT

KATE: First time I’ve seen you apologize to a suspect.
TONY: How’d you feel if I was going to search your apartment?
KATE: Violated beyond belief. You know why you’re attracted to her, don’t you?
TONY: Who said I was?
KATE: It’s endorphins.
TONY: Thank you, Abby.
KATE: Oh, you were so excited about going to Cuba and riding in the jet. It stimulated the hell out of your endorphins. The first woman you saw was like honey to a bear.
TONY: You were the first woman I saw on my endorphin high.
KATE: Yeah, well we work together, Tony. It’s like a brother sister thing.
TONY: I never had a sister.
KATE: That’s probably a good thing.
TONY: You just passed Sa'id’s room, sis.


(KATE ATTEMPTS TO UNLOCK THE DOOR)
TONY: Need some help?
KATE: No.
(KATE UNLOCKS THE DOOR)
KATE: Tony, wait.
(KATE UNLOCKS THE DOOR)
KATE: Sa'id had a key to her apartment.
TONY: Well she doesn’t have a key to his.
KATE: Women like making love in their own bed.
TONY: (LAUGHS) Now, wait a minute. Just because you’re woman and you enjoy doing it….
KATE: You’re right. I misspoke.
TONY:…does not mean that all women insist on doing it in their own bed.
KATE: (OVERLAP) I’m wrong, Tony. Let it go!

 MUSICAL BRIDGE TO:

 INT. INTERROGATION ROOM

CASSIDY: Are you going to read me my rights?
GIBBS: You have the right to be reimbursed for postage. Put it on your expense report.
CASSIDY: Thanks.
GIBBS: You might want to take that chip off your shoulder.
CASSIDY: Gladly. Just treat me as a member of the team.
GIBBS: We’re in the same agency, not on the same team.
CASSIDY: Is this interrogation over?


GIBBS: Yeah. Yeah, almost. Uh… why is Special Agent DiNozzo sorry?
CASSIDY: He blew his chance to get laid.

 CUT TO:

 INT. NCIS LAB

DUCKY: This just came to you from Guantanamo Bay.
ABBY: It’s Sa'id’s hard drive. Excellent.
DUCKY: Ah… quite a collection.
ABBY: Yeah, I’m trying to match a scent I found on Sa'id’s clothes.
DUCKY: I don’t see Channel Number Five.
ABBY: Does anyone wear that anymore?
DUCKY: My mother does.
ABBY: Really?
DUCKY: Ever since Marilyn Monroe confessed that Channel Number Five was all she wore to bed.
ABBY: So… does your mother…?
DUCKY: Unfortunately yes. Makes for terribly awkward slumber parties.
GAMAL: (V. O. ) Nasir is extremely upset.

 CUT TO:

 INT. INTERROGATION ROOM

GAMAL: He feels he’s been cooperative and now he’s in a cell with no windows.
GIBBS: Well maybe after losing all this luxury will make him more cooperative.
GAMAL: Well, a psychiatrist examined him and is worried for his mental health.


GIBBS: I’m not all that interested in the mental health of people who want to kill me.
GAMAL: You’re certain Nasir is a terrorist? Isn’t it possible he is what he says he is, a man who was in the wrong place at the wrong time?
GIBBS: Yes. It’s also possible that he’s the man who gave Sa'id those emeralds.
GAMAL: Why would he do that?
GIBBS: Are you that naïve or did Nasir pass some of those emeralds on to you?
(GAMAL WALKS O. S. )
(SFX: TOILET FLUSHES)

 CUT TO:

 INT. NCIS LAB – DAY

GIBBS: (V. O. /FILTERED) What are all these bottles, Abby? (BEGIN TELEPHONE INTERCUTS)
ABBY: (INTO PHONE) That’s the perfume you said I could buy.

(SCENE CUT)

GIBBS: Did you have to buy so many?
ABBY: (V. O. /FILTERED) I only have thirty. (ON MONITOR) There’s more than twenty five hundred on the market.
GIBBS: You’re kidding me.

(SCENE CUT)



ABBY: Perfume is the most powerful accessory a woman can wear.

(SCENE CUT)

GIBBS: Yeah, well how much has all this power cost us?
ABBY: (FILTERED/ON MONITOR) Around fifteen hundred.
GIBBS: Fifteen hundred dollars? !
ABBY: (V. O. /FILTERED) Well, not including the tax. I stuck to the thirty most…

(SCENE CUT)

ABBY:…popular scents hoping we’d get lucky.

(SCENE CUT)

GIBBS: Ah. How fiscally responsible, Ab.
ABBY: (V. O. /FILTERED) Thank you.
GIBBS: So… did we get any bang for our fifteen hundred bucks?
ABBY: (V. O. /FILTERED) We did.

(SCENE CUT)

ABBY: The perfume on Sa'id’s clothes is called Escada.

(SCENE CUT)

GIBBS: Never heard of it.
ABBY: (V. O. /FILTERED) Do you want to hear about his hard drive?


GIBBS: What’s it going to cost me?
ABBY: (ON MONITOR/FILTERED) It’s pretty much synonymous with his sex drive. (V. O. /FILTERED) Our boy deleted twenty gigs of porn before he turned his drive in.

(SCENE CUT)

ABBY: He was trading with a porn pal on a Hot Mail account…

(SCENE CUT)

ABBY: (FILTERED/ON MONITOR) …that doesn’t exist anymore.
GIBBS: Anything good on it?

(SCENE CUT)

ABBY: Nothing with sawdust, yet.
(END TELEPHONE INTERCUTS)

 CUT TO:

 INT. LIVING ROOM – DAY

GIBBS: Agent Cassidy’s?
TONY: Yeah. Uh… and nothing else of interest in her apartment, except…
GIBBS: What?
TONY: She had a bottle of Escada on her dresser. And Sa'id had a key to her apartment, but she did not have a key to his.


GIBBS: Most women prefer their own beds. So she and Sa'id were doing a horizontal salsa.
TONY: Not according to the bartender at El Floridito.
GIBBS: What? Lovers register with him at Gitmo first?
TONY: Bartenders know this kind of stuff, boss. He said she went there most nights, danced with a lot of guys, but always went home alone.
GIBBS: What’d you find out, Kate?
KATE: Sa'id’s place wasn’t just clean. It was sterilized. There was some towels, soap and a half a roll of toilet paper.
TONY: I think Sa'id copied Paula’s key without her knowing it.
GIBBS: Now which brain is thinking that, DiNozzo?
TONY: I’m hitting the rack.
(DOOR CLOSES O. S. )
GIBBS: Get this off to Abby first thing in the morning.
KATE: You know, Gibbs, sometimes you can be a real…
GIBBS: Bastard?
KATE: Yes.
GIBBS: Yeah, well my gut is telling me Agent Cassidy is telling the truth.
KATE: So then what’s the problem?
GIBBS: Romance between agents, Kate… it never works.
KATE: Are you speaking from experience?
CASSIDY: (V. O. ) Sa'id and I were not lovers.

 CUT TO:

 EXT. CLUB PATIO – DAY

CASSIDY: Who told you that?


GIBBS: A room key. Had yours on his key chain.
CASSIDY: That’s not possible. How would he get my room key?
GIBBS: You gave it to him.
CASSIDY: No I didn’t! I lost a key. Had to replace one. Sa'id could have stolen it.
GIBBS: Are you just remembering now that you lost a key?
CASSIDY: I was just told that somebody else had it.
GIBBS: Okay. Okay, let’s say that I buy that. Why would he want a key to your room?
CASSIDY: To get to my computer. But how does he get my password?
GIBBS: If you don’t keep your doors shut, the iquanas get in.
CASSIDY: We did so many interrogations together, he could have watched me type it in.
GIBBS: Why would Sa'id want to get into your computer?
CASSIDY: To read my interrogation reports. I don’t know. Lately I noticed that his conversations with Nasir seemed longer than his translations. I even noted that in my computer. Sa'id took leave and left the next day for the States… right after I wrote that.
GIBBS: His room was empty. He wasn’t intending to come back.
CASSIDY: I should have had Ben come in and sit in on one of the interrogations and check my suspicions. I blew it.
GIBBS: These are the hard objects that Sa'id had in his stomach when he died.
CASSIDY: Emeralds?
GIBBS: Yeah. I think he got them from Nasir.


CASSIDY: How did Nasir get them past our body search? (BEAT) Nasir complained of constipation when he arrived and they gave him a laxative.
GIBBS: He got them in the same way Sa'id got them out. `
DUCKY: (V. O. ) What are you looking at, Abby?

 CUT TO:

 INT. NCIS LAB

ABBY: It’s just sex, Ducky. (MUSIC B. G. )
DUCKY: Just sex?
ABBY: Yeah. You know, the biological act between creatures within a species in response to neurological and physiological stimuli.
DUCKY: Between creatures within a species?
ABBY: Usually.
DUCKY: This isn’t yours, I hope.
ABBY: No! It’s off Sa'id’s hard drive. Something’s wrong. The files are too big.
DUCKY: (GIGGLES) Not just the files.
ABBY: Easter eggs.

 CUT TO:

 INT. LIVING ROOM

GIBBS: What the hell are Easter eggs? (BEGIN TELEPHONE INTERCUTS)
ABBY: (ON MONITOR/FILTERED) Easter eggs are hidden messages within a computer program. If you don’t know where to look, you don’t know they’re there.


GIBBS: They were hidden in the porn?
ABBY: (ON MONITOR/FILTERED) My cursor has moved across places that would make Tony blush.
GIBBS: (V. O. ) What kind of messages?
ABBY: (V. O. /FILTERED) There’s a…

(SCENE CUT)

ABBY:…diagram of the camp and a bunch of stuff in Arabic. It’s coming to you now. Something tells me it’s not a greeting from the bunny.
(END TELEPHONE INTERCUTS)

(PASSAGE OF TIME)

GAMAL: Sa'id arrived Gitmo April twenty third. April twenty eighth he writes “son-in-law located. ”May eleventh “son-in-law moved to minimum security. ”May twenty third he gets a response. “Leader disavows son in law. He will be eliminated by the one who is victorious. ”
TONY: Leader?
GIBBS: Bin Laden.
KATE: My god. We’ve got one of Bin Laden’s son in laws here and didn’t know it.
GIBBS: The one who is victorious? Why does he start talking in riddles all of a sudden?
GAMAL: I don’t think he is. I may not be translating that accurately.
(SFX: COMPUTER BEEP TONES B. G. )


GAMAL: Nasir is old Arabic for “the one who is victorious. ”I owe you an apology, Gibbs. If I’d transferred Nasir into minimum security…
GIBBS: You didn’t. Don’t worry about it.
TONY: How do we find this son-in-law?
GIBBS: Easy. We transfer Nasir to minimum security so he can kill him.

(MUSIC OUT)

 FADE IN:

 INT. LIVING ROOM – DAY

MC CLARFFERTY: At Camp Delta the security buck stops with me. If Nasir kills a detainee, it’ll be my ass.
GIBBS: Yeah. But once the son-in-law learns that Bin Laden ordered him murdered, he’s going to sing like a bird in Islamic paradise and maybe that prevents another Nine Eleven.
MC CLARFFERTY: What’s your plan, Gibbs?
GIBBS: We transfer Nasir to minimum security.
GAMAL: From isolation to minimum security? He’s bound to be suspicious.
TONY: A new interrogator will have to deliver the news convincingly.
KATE: Since we know he trusts women, that’s me.
(DOOR CLOSES)
CASSIDY: No, that’s me. I’m the one he trusts.
GIBBS: You promised him minimum security. He got isolation. He won’t believe you have the authority to move him.
CASSIDY: He will when I order the guards to remove the shackles.
TONY: That’s too risky.


KATE: Tony’s right.
CASSIDY: Nasir and Sa'id did this right in front of me.
KATE: You’re an interrogator, not a translator. You couldn’t have known.
CASSIDY: But I did. I had suspicions about Sa'id and I let them slide. It’s inexcusable.
GIBBS: Yep.
CASSIDY: Let me make up for it.
GIBBS: How good an actress are you, Agent Cassidy?
CASSIDY: Ask Tony. He bought my act.
TONY: Icing me was an act?
CASSIDY: No. Letting you think I was melting was.

 MUSICAL BRIDGE TO:

 EXT. COMPOUND – DAY

(MUSIC OVER ACTION/CART DRIVES THROUGH THE COMPOUND)

 CUT TO:

 INT. OBSERVATION ROOM

KATE: Tony, she’d say anything to get in that room.
TONY: Kate, it’s not a problem. We were both playing a game.
GIBBS: Yeah? Who won?

 CUT TO:



 INT. INTERROGATION ROOM

(DOOR OPENS)
CASSIDY: Hello, Nasir.
NASIR: I did not expect we’d meet again.
CASSIDY: Neither did I. (TO THE GUARD) Remove the shackles. (BEAT) Now please.
NASIR: Where is Gibbs?

 CUT TO:

 INT. OBSERVATION ROOM

CASSIDY: Recalled to Washington. His superiors determined that his concerns were unfounded.
GAMAL: (IN ARABIC) Agent Gibbs was recalled to Washington. It was determined by his superiors that his concerns were unfounded.
KATE: He’s not buying it.
TONY: He will.
CASSIDY: Agent Gibbs has had…

 CUT TO:

 INT. INTERROGATION ROOM

CASSIDY:…problems in the past.
GAMAL: Agent Cassidy, this is inappropriate.
CASSIDY: He deserves to know. He has a history of building cases at the expense of the facts. (TO GAMAL) Tell him.
GAMAL: (IN ARABIC) Gibbs has a history of building cases at the expense of the facts.
GIBBS: (OVERLAP) She’s good.
NASIR: I was locked up like a dog.


CASSIDY: It was out of my hands, Nasir. I’m sorry. I’ve arranged to have you returned to your cell. Just answer one question. Do you have a conscience?
GAMAL: (IN ARABIC) Do you have a conscience?
NASIR: I have a moral awareness of my actions.
CASSIDY: Good. Because I’ve trusted you, Nasir.
NASIR: I am glad you are back.
CASSIDY: So am I.

 CUT TO:

 INT. OBSERVATION ROOM

KATE: She’s ending the session. What is she doing?
TONY: Playing him.

 CUT TO:

 INT. INTERROGATION ROOM

(DOOR OPENS)
NASIR: (IN ARABIC) What about my transfer to minimum security you promised?
GAMAL: He’s asking about the transfer to minimum security you promised him.
CASSIDY: I’ll try.

 CUT TO:

 EXT. CAMP – DAY

MC CLARFFERTY: (V. O. ) We have a hundred and twenty detainees in minimum…

 CUT TO:

 INT. COMMAND VEHICLE – DAY

MC CLARFFERTY:…security at present. Twenty to a unit. Barracks twenty is the one Nasir is assigned to. And this… that’s the inside surveillance cam.
GIBBS: How many guards inside the barracks?
MC CLARFFERTY: Two. One at each exit. Front and rear.
TONY: Odds are six to one against his target being billeted in the same barracks as him.
GIBBS: That means Nasir is going to have to kill his target in the exercise yard. What does Secret Service think?
KATE: Three sharpshooters. There, there and one in the watch tower. I have an idea.
GIBBS: It’s about time.
KATE: Nasir has to change his jumpsuit when he transfers, right?
GIBBS: Spankin’ brand new white one. So?
KATE: So I want to add a little trim.

 MUSICAL BRIDGE TO:

 INT. NASIR’S CELL – DAY

CASSIDY: You’re being transferred to minimum security, Nasir.
NASIR: You have kept your word.
CASSIDY: Does that surprise you?
NASIR: No.
CASSIDY: Don’t betray my trust, Nasir.
NASIR: I will not.

 MUSICAL BRIDGE TO:


 INT. COMMAND VEHICLE – DAY

MC CLARFFERTY: There. Right there. They’re bringing him out now.
TONY: Talk about your own personal webcam.
MC CLARFFERTY: We only did enough of a search to keep it legitimate.
TONY: You think he already has a weapon?
GIBBS: Oh yeah, I do. Probably a shiv.
MC CLARFFERTY: That makes sense. Easy to conceal.
KATE: How does he make a shiv in max security?
MC CLARFFERTY: A comb, a toothbrush, something innocuous ground to a point.

 MUSICAL BRIDGE TO:

 INT. BARRACKS – DAY

(MUSIC OVER ACTION/NASIR WALKS TO HIS BUNK)
(GUARD SPEAKS IN ARABIC)

 MUSICAL BRIDGE TO:

 INT. MOBILE COMMAND VEHICLE – DAY

TONY: You’re good. Bet you could have made it in Hollywood.
CASSIDY: I don’t think you’ll be right or wrong about Nasir.
GIBBS: He’s a killer. It’s in his eyes.


TONY: Yeah. The eyes always give you away.
GIBBS: Oh, yeah.
(ALL WATCH ACTION ON THE MONITOR)
GIBBS: Oh yeah.

 CUT TO:

 INT. BARRACKS – DAY

M. P. : (IN ARABIC) Let’s move out!
(NASIR WHISPERS TO THE DETAINEE)
M. P. : (IN ARABIC) No talking!

 CUT TO:

 INT. MOBILE COMMAND

MC CLARFFERTY: Your target is the fifth detainee to exit. Acknowledge when you have him in your sights. (ALL WATCH THE MONITOR)

 CUT TO:

 EXT. TOWER – DAY

GUARD: (V. O. ) Roger that. Okay, I’ve got him.

 MUSICAL BRIDGE TO:

 EXT. YARD

NASIR: (IN ARABIC) Give me the ball!
(MUSIC OVER ACTION/ NASIR KICKS THE SOCCER BALL)
M. P. : (IN ARABIC) Keep in line! Keep in line!

 MUSICAL BRIDGE TO:

 INT. MOBILE COMMAND VEHICLE

GIBBS: That’s a diversion!

 CUT TO:

 EXT. TOWER – DAY

GUARD: (V. O. ) I lost my target. No shot!

 CUT TO:

 INT. MOBILE COMMAND VEHICLE

MC CLARFFERTY: My sniper’s lost his target!
KATE: He’s heading in the opposite direction, Gibbs! He switched groups!

(INTERCUT SCENE OF NASIR WALKING INTO BARRACKS)

GIBBS: He’s going into the barracks twenty one!

(INTERCUT SCENE OF NASIR WALKING INTO BARRACKS)

GIBBS: He’s made his man. Where are your guards, Colonel? !

 MUSICAL BRIDGE TO:

 EXT. EXERCISE YARD – DAY

(SFX: DETAINEES FIGHT LOUDLY B. G. )
(GIBBS/KATE AND TONY RUSH FROM THE VEHICLE)
GIBBS: (SHOUTS) NCIS! Open up!

 MUSICAL BRIDGE TO:

 INT. BUILDING TWENTY ONE

NASIR: (IN ARABIC) Close the door.
(MUSIC OVER ACTION/NASIR MOVES TOWARD THE DETAINEE)

 MUSICAL BRIDGE TO:

 EXT. EXERCISE YARD

GIBBS: DiNozzo, go around back!
TONY: Got it!

 MUSICAL BRIDGE TO:

 INT. BARRACKS – DAY

(MUSIC OVER ACTION/NASIR MOVES TOWARD THE DETAINEE/ GIBBS/ KATE AND TONY RUSH INTO THE BARRACK)
(SFX: GUNFIRE)
GIBBS: (SHOUTS) Down! Get down!
TONY: I’d have killed him.
CASSIDY: And make him a martyr? No. This is worse than death.
(NASIR SHOUTS IN ARABIC B. G. )

 CUT TO:

 INT. GULFSTREAM – DAY

KATE: She looks awfully lonely back there.
GIBBS: So?
KATE: So… I think one of us should go and keep her company.
GIBBS: Why?
KATE: She is one of us.
GIBBS: Kate.
KATE: What? Well, I can’t let her ride alone…
(TONY STANDS AND WALKS TO CASSIDY)
(KATE CHUCKLES)
GIBBS: Why is it that women always want to fix what doesn’t need fixing?


KATE: It makes us feel all warm inside.
GIBBS: So does scotch but it doesn’t cost you a house. (KATE CHUCKLES)

(CAMERA ANGLE ON THE REAR COMPARTMENT)

TONY: I didn’t…
CASSIDY: (OVERLAP) Do you think that… You go. (CASSIDY LAUGHS)
TONY: Watch this.

 MUSICAL BRIDGE TO:

 EXT. GULFSTREAM – FLYING

TONY: (V. O. ) It’s a Gulfstream.
(ENDING CREDITS UP AND OUT)




* * * * * * * *

Prepared by C. C.  Printed in USA
Calvert Continuities Aired 11/25/03