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1#01 Le point d'origine

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01x01 - Pilot

Original Air Date on CBS: 01/23/05

Director: Davis Guggenheim, Mick Jackson
Writer: Cheryl Heuton, Nicolas Falacci

Transcribed by: Krystal
Transcriped for: Numb3rs Online (numb3rs-online.net)


This transcript was written for entertainment purposes only. The rights do not belong to me. I am in no way affiliated with CBS, Tony and Ridley Scott, Scott Free, Barry Schindel Productions, Paramount, or any of the actors on the show.


[Text reads: 6:00 Time, 594 - E4 Map Grid, 772 -- 04 Case #, 1st Murder Victim]

VO: FEMALE DISPATCHER: Code 6, body of a dead female at a construction site off of Hill Street.

VO: NEWS REPORTER: No breakthroughs yet in the brutal series of rapes that have rocked the southland...

[Fade in: Construction site. Don and Terry exit a car.]

DON: So, who we dealing with here?

TERRY: It's the first rape victim he's killed. Her name's Rachel Abbott. Twenty-nine years old, waitress. Roommate filed a missing persons two days ago. And the new guy's here. The one the assistant director assigned.

[They approach the body as a man walks toward them. Terry makes introductions.]

TERRY: Don, David Sinclair.

DAVID: Homicide says she called her job to report car trouble. Said she was gonna phone A.A.A. A.A.A has no record of that call.

[Medical examiner hands gloves to Don.]

MAN: Here you go, sir.

DON: Thanks.

[He begins to put them on.]

M.E.: No wounds or ligature marks. She probably suffocated.

[Shots of various parts of Rachel's body.]

M.E.: Lividity shows she was dead when the body was moved here.

[Don squats down beside the body. He gently tilts the dead woman's head to the side to get a better look. He notices a burn on her neck

[Cut to: Office.]

WOMAN: The burn was made with the same implement used on the twelve previous rape victims. Metal, heated to three hundred degrees, and pressed into the skin for about three seconds.

DAVID: Rape isn't enough of an assault for this guy? He has to burn them?

TERRY: Branding asserts his possession. Like the women belong to him.

DAVID: As the psych expert, tell me, after twelve rapes, why did he decide to kill Rachel Abbott?

TERRY: Death is permanent possession, murder the ultimate act of ownership.

DON: The violence has escalated with each attack. He's been working up to this.

[Cut to: Autopsy room.]

DOCTOR: He used something to cover her face, causing asphyxiation.

DON: What, like duct tape? Or a bag?

DOCTOR: No tape marks. So I'd say an airtight substance, maybe a plastic bag. The marks on her wrists are from thin-gauge rope. The severe abrasions occurred shortly before death.

DON: She fought harder when she realized she couldn't breathe.

[Cut to: Outside view of FBI building.]

VO: RECEPTIONIST: Federal bureau of investigation.

VO: WOMAN: I have information about the rapist.

[Cut to: Reception room.]

VO: MAN: ... middle school two miles from where he attacked that woman.

RECEPTIONIST: Federal bureau of investigation.

[Cut to: Shot of city tunnel.]

VO: REPORTER: Still no leads in the hunt for the L.A. rapist.

[Cut to: Shot of city map, clips from the murder PIP.]

VO: REPORTER 2: ... in the brutal series of rapes that have rocked the southland.


[Cut to: FBI office.]

DON: The dead girl's car: we need to find it. If she was attacked where it broke down, we do have a shot at some forensics.

TERRY (holding up a photo): 1981 Honda Civic, blue. California plate, 2BAI222. All regional agencies are looking for it.

DON: Let's get on that. Thanks. David, I want you to oversee the search for that car.

DAVID: All right.

DON: Terry, we need to go talk to Karen Silber again.

DAVID: Why Karen Silber?

TERRY: That's victim number twelve. There were inconsistencies with her statement.

DON: Yeah.

TERRY: I'll get my stuff.

DON (to David): You get on that car.

[Terry and Don begin to leave the room.]

TERRY: He'll be talking to Merrick before we're out of the parking lot.

DON: It's a major case. The assistant director needs to know he's getting the facts without spin, so...

TERRY: Don, in the ten years I've known you, you've never given anybody spin, even when you should have.

DON: I'm just happy for the help. We can use it.

[Cut to: Hospital room.]

DON: I'm sorry we have to ask the questions again. But you understand the case has changed. Right?

[Karen nods.]

TERRY: Did he talk about having watched you, as if he knew your routine?

KAREN: He didn't say. His attitude was like I didn't have an existence outside of what he was doing to me.

DON: You were just trying to get through each moment.

[Karen nods.]

DON: And I know you couldn't see him.

KAREN: He taped my eyes shut.

DON: Maybe you remember his hands. Were they rough? Were they callused?

KAREN: No. But they were strong. And cigarettes. His hands smelled like he smoked.

DON: That's something you haven't told us before. How about we go over the moments right before it happened, just to see if we can pin down the time any better.

KAREN: I don't remember that part. I tried, but I can't. Please. I'm getting married next month. My fiancé... Can you imagine how this has been for him? For both of us?

DON: Karen... Help me stop this guy. The brand, with the four crosses. Did he say anything that would indicate its significance or meaning?

KAREN: No. Look, if I knew anything that would help, don't you think I'd tell you?

[Cut to: FBI office. David is showing Merrick the map charting the thirteen victims. Terry and Don enter. Don clears his throat.]

DON: Director Merrick.

MERRICK: Agent Sinclair's catching me up on the case.

DON: Sure.

MERRICK: You get anything from Karen Silber?

DON: Nah, she's still holding something back, but we're working on her.

MERRICK: What about these tips?

DON: It's over twenty thousand calls and e-mails. We're halfway through. We get another two hundred every day.

MERRICK: What about finding the car?

[Don looks over at David for a moment before responding.]

DON: We're on it.


[He hands Don the stack of tips and leaves.]

DON (to David): Got anything?

[David shakes his head.]

[Cut to: Break room. Terry is getting a cup of coffee.]

TERRY: Merrick's just threatened by you because you ran your own office. He needs to feel like he's contributing ideas.

DON: He's doing his job. Making sure I haven't missed anything. Have I missed anything?

TERRY: No, except several days' worth of sleep.

DON: We gotta break some kind of lead on this, and I have no idea where that's gonna come from.

[Cut to: L.A. street. Charlie rides down the hill in a soapbox car. Larry, parked nearby, spots the event and gets out.
Charlie passes the finish, the time reading '21:07'. People begin to crowd around him.]

AMITA: 21.07 seconds, 68.3 miles per hour.

[Charlie takes off his helmet.]

AMITA: No one would ever guess you don't have a driver's license.

CHARLIE: M.I.T. and Stanford can't touch that.

[Larry approaches.]

LARRY: Professor Charles Edward Eppes.

CHARLIE: Larry. Give me a hand.

[Larry reaches down and helps Charlie out of the car.]

LARRY: So this is what distracts you from helping me, your friends, your colleague, win the Nobel Prize from my 11-dimensional supergravity theory?

CHARLIE: Well, in a way, this project is related to your theory.

LARRY (stuttering): What, it-it... This go-cart?

CHARLIE: Go-cart? This is- This isn't a go-cart. This is, uh, an extreme gravity vehicle. Its shape will help inform the next generation of high-performance automobiles.

LARRY: Okay, hooray for making things go faster, but I fail to see how this will provide me the necessary mathematical breakthroughs I need to redefine the fabric of the cosmos.

AMITA: You know, some physicists do their own math. Ed Witten, Richard Feynman.

LARRY: Hurtful. I actually knew Feynman. I actually think of him often. You know, here's a discussion. Why is it that we remember the past and not the future?

CHARLIE: That's a tough one, Larry. Look, I'll have time on Monday. I'll run through some equations for you.

[Cut to: Eppes' house. Don sets the work from the rapist case on the table.]

ALAN (OS): Donny!

DON: Brisket. Must be Friday.

ALAN: What's up?

DON: Uh, I didn't have time to drive home. Can I catch a shower here, maybe borrow a clean shirt?

ALAN: Yeah, sure, be my guest. Oh, and tell your brother to come down for dinner.

DON: All right.

ALAN: You want some? There's plenty.

DON: No, I can't. I gotta get back to work.

[As Don approaches the stairs, .Charlie comes down.]

CHARLIE: Hey, what's going on?

DON: Hey.

CHARLIE: What are you doing here?

DON: Just making sure you don't take complete and total advantage of dad.

CHARLIE: Are you kidding? Uh, he wouldn't know what to do without me.

[As Don leaves, Charlie begins peering at the work on the table. Alan watches as Charlie begins to unroll the map, revealing red dots marking where the rapes took place.]

[Cut to: Don leaves the shower and pulls on a striped shirt. He comes down the stairs and sees Charlie looking at the map.]

DON: Charlie, what do you think you're doing?

CHARLIE: Crime scenes? What kind of crimes?

DON: Get away from here. These are confidential case files.

ALAN: He just looked at the map. I made sure he didn't go through anything else.

DON: Good.

CHARLIE: Thirteen crime scenes spread over a contained region. You guys are analyzing the significance of those locations?

DON: Yeah, it's called predictive analysis. The FBI pioneered it. I trained in it at Quantico, and it doesn't work on sado-serial crimes. There's no way to predict the location of the next attack.

CHARLIE: You know, I helped you on that stock fraud mess. And the IRS extortion case.

DON: Yeah. This is different. It's not about numbers.

CHARLIE: Everything is numbers.

[Don begins to walk away. Charlie spots the sprinkler through the glass door. He watches as it sprays back and forth, getting an idea.]

CHARLIE: Don. Hey, um, can I show you something really quick?

DON: No, Charlie, I gotta get going.

CHARLIE: I know, I know.

DON: Charlie -

CHARLIE: I know. Just come with me. Come and hear me out. Hear me out, come here.

[He begins to lead Don towards the back door.]

CHARLIE: Check this out. You see the sprinkler, yeah?

DON: Yeah, I see the sprinkler.

CHARLIE: You see the drops?

DON: Yep, see the drops.

CHARLIE: Even using math, there's no practical way to predict where the next water drop will land. There's too many variables. However, say I couldn't see the sprinkler. From the pattern of the drops, I could calculate its precise location. It's not about predicting the next site. It's finding what the sites have in common. The point of origin.

DON: Charlie, you're saying you can tell us where the killer lives?


[Fade out.]

[Fade in: Shots of L.A. streets and the people on them.]

VO: DON: The movements of a serial perpetrator are defined by his needs. He watches potential victims. Avoiding detection, he'll frequent public areas, parks, streets that don't get a lot of traffic, waiting for moments of isolation.

VO: CHARLIE: Isolated areas, high probability of attacks.

[Cut to: Eppes' house. Charlie writs down notes on what Don has said.]

ALAN: TV distracting you? I could turn it off.

DON: No, it's fine, Dad.

ALAN: All right.

CHARLIE: What else, what else?

DON: All right. Serial offenders cover a wide region, but rarely commit crimes near their homes. It's a buffer zone. Early in a cycle buffer zones will vary in size, but as the cycle matures, they tend to stabilize.

CHARLIE: These guys follow patterns.

DON: Exactly. There's also distance decay. The more intensity the attacker feels about a crime, the further he will travel to commit it.

[Charlie begins flipping through photos on the table. Don tries to stop him.]

DON: You don't wanna look at those.

CHARLIE: How do you gauge intensity?

[Don shuts the book of photos and pulls it away.]

DON: By the nature and extent of the injuries. The length of each abduction. Adherence to ritualized behavior. I've listed the incidents by estimated intensity.

CHARLIE: Oh, great. This'll give me enough to start putting together some expression. But just give me a minute.

DON: Sure. Yeah.

[Don takes a seat beside his dad.]

DON: Who's up?

ALAN: Shawn Green.

DON: Oh, Green. Four games without a hit. He's due.

CHARLIE: There's no statistical evidence for a batter being due.

DON: I say he gets a high fastball and smacks it out of the park.

[Charlie scoffs and returns to his work.]

ALAN (quietly): This is a tape of yesterday's game.

DON: I know. I read the box scores.


TV ANNOUNCER: Three and one, the count. A high fastball, Green hits...

DON: Oh! Oh!

CHARLIE: Wow. Hey, you know, that was an anomaly.

TV ANNOUNCER: That ball is gone!

DON: Something like that, Charlie.

[Alan laughs.]

DON: Shut up, Dad.

[Cut to: FBI building.]

TERRY: What you're talking about is a completely new way of identifying a perpetrator.

DON: Exactly.

TERRY: Not who he is, but where he is.

DON: The question is, will it be accurate and identify a small enough area? Morning, Thomas.

TERRY: You think Charlie can do it?

DON: Well, I mean, he can be a pain in the ass, but he is a world-class mathematician. If it works, we have a whole new system for analyzing and investigating serial crime. Morning.


[They enter the office area.]

TERRY: Wow. That's impressive.

DAVID: Agent Eppes. The dead girl, Rachel Abbott?

DON: What do you got?

DAVID: Well, microscopic particles of fungal matter were found in the victim's lungs, inhaled shortly before death.
Identified as black truffles. The kind you cook with.

DON: So maybe the - the bag he put over her head is the one he bought 'em with.

DAVID: There's some two hundred places you can find black truffles in this area.

TERRY: Plus more on the internet. I'll, uh, I'll get on it.

[She leaves.]

DON: No car yet?

DAVID: Not yet.

DON: Look, I know you got a job to do for the assistant director, but there is a guy out there who's attacking women. I need to know where your priorities are.

DAVID: Sir, my first priority is to assist you on this case. I have notified every jurisdiction from San Diego to Seattle. This car is not turning up.

DON: All right. Come here. Listen up, everybody! We need to piece together Rachel Abbott's last day. Where was she? Where was she going? If she was having car troubles, maybe she was on the way to the repair shot. Did she go to a movie? Was she shopping? Call all parking facilities, deal with people on the premises. Did she break down of a free way or on a surface street? Ask C.H.P. about abandoned vehicles. Now, I know you've done some of this, but do it all and then do it over again, please.

[Cut to: Charlie's office. Wearing headphones, he's writing on the chalkboard. He references back to the file and maps.]

VO: DON: Early in the cycle, buffer zones may vary, but as the cycle matures, they tend to stabilize. He watches potential victims, waiting for moments of isolation.

[Amita enters and watches Charlie work for a moment before approaching him. She pulls off his headphones.]

AMITA: It's Monday. It's 2:45 in the afternoon.

[Charlie gives a 'so what' gesture and moves to get back to his work.]

AMITA: Monday after lunch.


[Amita nods. Charlie pulls off his headphones and rolls his bike out the door with him. Amita reads over what he's written on the chalkboard, running her fingers over the writing. She grabs a pen and writes 'DO NOT ERASE' on a post-it and sticks it beside his work.]

[Cut to: Campus. Charlie rides his bike, spotting Larry ahead of him.]

CHARLIE: Larry! Larry!

[He pulls to a stop beside Larry.]

CHARLIE: All right, sorry. I was busy working on something. I know I'm supposed to be going through some equations for you.

LARRY: Yes, I wondered if I got the time wrong, or the place, or, uh, quite possibly the dimension.

CHARLIE: No, I'm developing an application for the FBI. You know what? You actually might be able to help me. The problem involves finding an origin point from evidence provided by scattered effects.

LARRY: Somehow I doubt we're talking about orbital paths and black holes.

CHARLIE: Not exactly, no.

[He locks his bike to the rack.]

LARRY: Evariste Galois. Brilliant young mathematician, not unlike yourself, tackling the hardest problems in his day. But he got distracted. He got caught up in-in politics and romance-

CHARLIE: I know where you're going with this.

LARRY: -and at the age of twenty he was killed in a duel, and who even knows what he might have accomplished?

CHARLIE: I would say I'm actually pretty good at avoiding duels.

LARRY: Charlie, what I'm trying to say is, you are almost thirty years old. You're at your peak as a mathematician. Many mathematicians do their best work in a very short time period, maybe five to eight years. Just- Hey, forget about me. Forget about my supergravity theory. You have abilities. You could be helping define the nature of reality. All I'm asking is that you just consider how you spend what time you have.

[Cut to: Charlie's office. He works on his computer, making a grid atop the map on the screen.]

[Cut to: FBI office entry. Charlie and Amita exit the elevator, large rolls of paper in hand.

CHARLIE: A-Actually, it's-it's this way, over here. Hi.

[Cut to: FBI office. Charlie and Amita set the papers on a table.]

DON: It's all right. You all right?

CHARLIE: Hi. All right. Amita, can you put the first map right up here, please?

AMITA (to Don): Hi.

DON: Here, I'll help you with that.

AMITA: Thanks.

DON: How you doing?

AMITA: Good. Nice to see you again.

[They tack the map up onto the wall.]

CHARLIE: Okay. This map was generated by an equation.

[He begins to wipe off a whiteboard beside the map.]

AMITA: Oh, wait, Charlie, don't erase that.

TERRY: Oh, no, no, it's okay.

DON: It's all right.

TERRY: It's an old case.

CHARLIE: I'm writing the equation here in abbreviated form. I've pinpointed the area most likely to be the perpetrator's residence.

MERRICK: You got they guy's address?

CHARLIE: Not the address, no. An approximate base. Um, okay, I'm using some of the same techniques that physicists use to find black holes, which can't be detected in any way, um, other than the effect that they have on-on objects around them.

MERRICK: Black holes?

DON: Walt, he based his work on FBI theories of serial crime.

MERRICK: Okay, uh, professor, why don't you just walk us through it.

CHARLIE: Amita, can you put up the enlarged version? The first point, really, to take into account is that, when picking places to attack a victim or dump a body, the perpetrator will choose sites that appear to be selected at random. He doesn't want you to make any conclusions about where he lives, what areas he frequents.

DON: Right.

CHARLIE: You know what? Let's-let's do an elementary demonstration. Okay? So, uh, can you help me just move this table back? And let's slide this over there.

[They pull the two tables apart so there's a reasonably sized space between them.]

CHARLIE: And can you five - one, two, three, four, and five - please come up here? And, uh... you know what? You guys, too. Just, uh, please distribute yourselves randomly across this area right here.

TERRY: You mean, spread out?

MERRICK: Like this?

CHARLIE: That's exactly right. But look what you've done. You have distributed yourselves at equal intervals, while true random patterns will include clusters.

TERRY: We're spaced to evenly.

CHARLIE: Mmm-hmm. Exactly. It's pretty difficult to consciously pick a random sequence. Your target tried, but, like you, he would up with roughly even spacing.

TERRY: In trying to avoid a pattern, he wound up with one anyway?

CHARLIE: Yep. Locations purposefully distanced from a site not on your map, but clearly marked in the perpetrator's mind. Namely, his residence. The equation reveals the probability that each area has of being the subject's base. Yellow's the hot zone.

TERRY: I had a feeling about Silver Lake.

CHARLIE: I estimate an 87% chance he lives in that area.

MERRICK: You know, I don't know a lot about mathematics, but this doesn't make any sense to me.

CHARLIE: It makes more sense than this.

[He pulls a lottery ticket from Merrick's shirt pocket into view. Merrick snatches it up.]

MERRICK: You can't win if you don't buy a ticket.

CHARLIE: Yes, this is truth. However, the odds of this one being the winning ticket are one in forty-one million.

[He writes it out on the whiteboard.]

CHARLIE: Which means, if you bought twenty tickets every week, you would win the jackpot once every forty thousand years.

MERRICK: Really?

CHARLIE: Yep. It's basic probability theory.

[David rushes into the room.]

DAVID: Agent Eppes, we've got the dead girl's car. It's in a parking structure in West Hollywood.

DON: Let's go. (to Charlie) Test it. Run it against cases from that past that've been solved. Miller, pull some files for him to work with.

CHARLIE (to Merrick): You ever play craps?

[Cut to: Parking structure. A crime scene analyst takes a photo of the license plate that reads '2BAI222'. A photo is taken of two shell casings on the ground. David, Terry and Don duck under the crime scene tape.]

AGENT: Agent Eppes! Over here.

DON: Why don't you check on the girl's car, David?

DAVID: Got it.

[He approaches a man standing beside the car.]

DAVID: You got anything yet?

DON: What do you got?

AGENT: Someone waited here.

[He points to the ground where there are several cigarette butts on the pavement.]

AGENT: We don't know if it is related to Rachel Abbott. But we've got cigarette butts, soda cans. Condition shows they were left here recently.

DON: Checking 'em for DNA?

[The agent nods.]

AGENT: We will.

TERRY: Why wait here? He couldn't know her car wasn't gonna start.

[David approaches.]

DAVID: Nobody tampered with the car. Spark plugs fouled, built up over time.

[Don takes a couple steps to where the perpetrator would've been standing. Flashback: shoe grounding a cigarette butt into the pavement. Don looks up. Flashback: Rachel trying and failing to start her car. Don steps over to the railing and looks out over the adjoining neighborhood. He pulls out a small telescope device and looks at a street sign reading 'Fountain'.]

DON: What street does that nurse, Karen Silber, live on? Fountain, right? What's the exact address?

[Terry and David look over the file.]

TERRY: 634 Fountain.

DON: Get her on the phone.

[He looks once more at the street sign, then shifts the scope to view a house, numbers above the door reading '634'.]

DON: That's her house right there. He was watching Silber.

[Flashback: A man looking over the railing with binoculars, an engine faltering in the background. He turns and spots Rachel.
He drops his cigarette butt onto the ground and grinds it into the pavement with his shoe. He begins to walk toward the car.]

VO: DON: Then he hears someone having car trouble. That's a target of opportunity.

[End flashback.]

DON: But that's not why he was here. He's still after Silber.

TERRY: Karen Silber didn't show up for work today. Nobody knows where she is.

DON: Let's move.

[Don, Terry, and David duck back under the crime scene tape and begin to run down the stairs.]

TERRY: Call for backup!

[Cut to: Karen Silber's house. The three approach the front door.]

DON: FBI! Karen!

DAVID: Karen Silber, FBI!

[Terry tries the front window as the guys knock on the door.]

DAVID: Open up!

TERRY: Window open!

[She climbs in, David and Don close behind.]


[Don climbs in, followed by David.]

DON: Go, go.

DAVID: I'll check the house.

[Terry kneels beside Karen's body, a plastic bag duct taped over her head.]

[Fade out on the falling drops of the sprinkler from the front yard.]

[Fade in: Globe, showing markings as Charlie speaks.]

VO: CHARLIE: Serial killer. Boston. 1992. Killer resided in hot zone. Serial rapist. Portland. 1983. Rapist resided in hot zone.

[Cut to: Television screen showing the news.]

REPORTER: Tonight, the southland is rocked by the return of the L.A. rapist. Karen Silber who lived on...

FEMALE REPORTER (separate newscast): One of the victims was stalked and killed by a man who had already raped her.

REPORTER 3 (separate newscast): Karen Silber was found dead in her own home after an apparent second visit by the L.A. rapist. Neighbors insist they heard nothing...

MERRICK: We've ordered police protection for the other victims?

DON: It's done.

MERRICK: You think he'll go after another previous victim anyway?

DON: No. He's too smart.

TERRY: Very rare for a serial offender to go after the same person twice.

DON: He probably intended to kill her the first time. She said she put up a hell of a struggle.

TERRY: Yeah, I thin kin his mind, he was just finishing what he started.

MERRICK: But we're still at a dead end. What's your next course of action?

[Don glances at the television screens.]

REPORTER 3: But today, there was the tragic discovery of Karen's body, again showing the marks of the L.A. rapist.

[Cut to: Layout room.]

DON: Charlie tested the equation on five serial cases. In four, the perpetrator lived in the hot zone.

MERRICK: And he's predicted a hot zone for this case.

DON: Small neighborhood in Silver Lake. About fifty men live in the vicinity. If we move fast, we can get background and DNA on that many guys in -

TERRY: 48, 72 hours.

MERRICK: No way we get a court order off an equation. You're gonna have to pick up discarded objects to get the DNA.

DON: Coffee cups, cigarette butts, and chewing gum. That's the plan.

MERRICK: All right.

DON: Let's go.

[Cut to: L.A. street. An agent takes a picture of a man at a phone booth. The man pulls the gum out of his mouth and sticks it to the booth. After the man leaves, the agent pulls the gum from the booth with tweezers and puts it in a plastic evidence bag. Various shots of the DNA collection and testing, as well as the elimination process.]

DON: Alright, that is number 34. Where's the rest? What's the holdup?

TERRY: DNA tests. What do you expect?

DAVID: The lab needs another day.

DON: Oh, he's out there somewhere. And so is his next victim.

[Cut to: Outside elementary school building. A teacher plays with her students as a man watches through the chain-link fence.
The man drops his cigarette butt to the ground and crushes it with his shoe.]

[Cut to: Eppes' house. Charlie and Amita work at the table as Alan feeds the bird.]

ALAN: Aren't you going to introduce me to your girlfriend?

CHARLIE: You've met her before. She's not my girlfriend. I'm her thesis advisor.

ALAN: Oh. Does that mean she can't be your girlfriend?

CHARLIE: Its, uh... It's against the rules.

ALAN: Well, screw the rules. What's more important, learning or love? Well, I'm sure there's no rule against the father of her thesis advisor asking her out.

[Alan hands Amita a cupcake.]

CHARLIE: Go for it. Go right ahead. Be my guest.

AMITA: Thank you.

ALAN: You're welcome.

AMITA: Actually, I'm spoken for, Mr. Eppes.

ALAN: Really?

AMITA: Back in Madras, my parents arranged for marriage to a family friend. Nice Hindu banker from Goa.

CHARLIE: Really?


CHARLIE: Getting married?

AMITA: God, no. He's a total ass.

ALAN: Ooh. Oh.

CHARLIE: Dad, you're, like, hovering over us. And we have so much work to do.

ALAN: I thought you already helped your brother out-

CHARLIE: Something this complex needs to be checked and rechecked.

ALAN: Ah. There's one thing you and your brother have in common. On some things, you're both very thorough. Other stuff...

[Charlie and Amita whisper about their work, ignoring Alan.]

ALAN: ... you completely miss.

[Cut to: FBI office.]

DON (on phone): Right. No, you just have to tell me about- Sorry, what? I can't... hold on. Thirty minutes?

[Charlie enters.]

CHARLIE: Don, there's a problem with the, uh...

DON (into phone): Fifteen minutes is the difference between catching this guy and having another dead woman on our hands. Can you at least get us the DNA results?


DON (into phone): Yeah. That would help. Thank you.

[He hangs up the phone.]

DON: Charlie, did you just say we have a problem?

CHARLIE: I did a test to verify the equation's accuracy. I reversed it. Like running a film backwards. I used the hot zone as a starting point and went the other way. It was supposed to confirm the known crime locations. It did not.

DON: I got forty agents working two days straight. You're telling me that, what? You made a mistake?

CHARLIE: Not my mistake. It was in the data that you provided.

DON: Those reports have been checked and rechecked.

CHARLIE: It was where victim twelve was attacked. So, you know, either you guys got it wrong, or, I don't know, she lied to you.

DON: Why do you say that?

CHARLIE: Well, it's evident that these locations fit within a general pattern, except for the first Karen Silber attack, in Marina Del Rey. All right? That's way outside the areas defined by the other locations. I mean, just look at these numbers.
86 percent, 75 percent, 81 percent. 2 percent.

DON: She was hiding something. Maybe this is it.

CHARLIE: Numbers don't lie.

[Cut to: Hospital locker room. A nurse opens Karen's locker.]

DON: Why would she lie about where the attack took place?

NURSE: She had an ex-boyfriend. She promised her fiancé she wasn't seeing him anymore. But... she and the ex were still friends.

TERRY: So if she was attacked in the area her ex-boyfriend lived...

DON: She'd lie cause she didn't want the fiancé to know where she'd been. We're gonna need the address of that ex-boyfriend.

NURSE (hesitantly): Okay.

[Cut to: FBI hallway.]

DON (on phone): Charlie, I have a new location for the first Silber attack. She was probably in Los Feliz, near Hillhurst and Franklin.

[Cut to: Charlie's office.]

CHARLIE (on phone): Great. I'll run the equation again. We'll get a more accurate map.

[Cut to: FBI office.]

DON: W-w-wait a minute. What's going on?

DAVID: We got the last results. All fifty-two guys from the hot zone are cleared. Not a single match.

DON: Listen-

TERRY: No, Karen Silber lied about where she was attacked.

DON: We got the right location. Charlie's generating a better map. Please, just come in. Be patient. Get on that map.

[Don's cell phone rings, and he answers it.]

DON: Yeah, Charlie?

[Cut to: Charlie's office. Amita puts up a new map.]

CHARLIE: It works. The new location fits. The map's much more accurate, from 87 percent to 96 percent.

[Cut to: FBI office.]

DON: Right, all right, give me the new zone.

[Cut to: Charlie's office.]

CHARLIE (to Amita): He wants the new zone.

AMITA: Hyperion between Melrose and Del Mar.

CHARLIE (into phone): Hyperion between Melrose and Del Mar.

[Cut to: FBI office.]

DON (to David): Hyperion between Melrose and Del Mar.

[David draws it onto the map.]

CHARLIE (over phone): Marathon between Lucile and Robinson.

DON: Marathon between Lucile and Robinson.

AMITA (over phone): Robinson between Marathon and Winslow.

[Cut to: Charlie's office.]

CHARLIE (into phone): Robinson between Marathon and Winslow.

DON (over phone): Robinson...

[Cut to: FBI office. Don appears to realize something on the map.]

DON: ...between Marathon and Winslow? And Winslow between Edgecliffe and Micheltorena?

[David draws it onto the map.]

CHARLIE (over phone): With better data, I was able to narrow it down to a smaller area.

[David begins to draw lines through the marked area to make it more clearly visible.]

CHARLIE (over phone): You only need to clear about twenty guys.

[Cut to: Charlie's office.]

CHARLIE (into phone): I would assume that this would allow you, you know, a-a far more efficient use of-of manpower, and-
[Cut to: FBI office.]

DON (into phone): Yeah, Charlie, you're telling me the same area. It's only smaller.

CHARLIE (over phone): Exactly.

[Cut to: Charlie's office.]

CHARLIE (into phone): Smaller means more accurate.

[Cut to: FBI office.]

DON (into phone): No, we already cleared those twenty guys.

[Cut to: Charlie's office.]

CHARLIE (into phone): Um, what? No, that's - well... You must have missed him, because, uh, well... E-either, um, either you cleared someone you shouldn't have, or, uh... No, he-he lives there. You-you just - you just didn't find him.

DON (over phone): You're not listening to me, okay?

[Cut to: FBI office.]

DON (into phone): We cleared all males in that zone.

[Cut to: Charlie's office.]

CHARLIE (into phone): And that means you missed him.

[Cut to: FBI office.]

DON (into phone): Look, you just said we're dealing with degrees of probability.

CHARLIE (over phone): Right. 96 percent.

[Cut to: Charlie's office.]

CHARLIE (into phone): You know what that means. I helped...

[Cut to: FBI office.]

CHARLIE (over phone): ...build an entire weak force theory with less than that.

DON (into phone): Yeah. Well, it didn't work, you understand? I'm sorry.

[Don hangs up.]

[Cut to: Charlie's office. He hangs up his cell phone and violently throws it downward, the noise causing Amita to jump slightly. He begins furiously erasing the work on the chalkboard.]

AMITA: Charlie.

[Charlie flips through a notebook and begins writing on the board.]

AMITA: Look, let's take a break, huh?

[Charlie continues writing.]

AMITA: Get some coffee.

[He doesn't answer. She places a hand on his shoulder.]

AMITA: Charlie-

[He jerks away.]

CHARLIE: I'm trying to think.

[Amita looks at him a moment before leaving. Charlie sighs.]

[Cut to: FBI office. Don and Merrick talk, inaudibly. Merrick leaves, and Terry approaches Don.]

DON: I'm not running the investigation anymore.

TERRY: If there's one agent in this office that can crack this case, it's you.

DON: Yeah, but I didn't.

TERRY: I don't think you realize how hard you push yourself. Everything we tried was gonna be a long shot.

DON: Yeah, well, I gotta go brief De Winter. He's taking over.

TERRY: I'll do it.

DON: Thanks.

[They part.]

[Cut to: L.A. street. Charlie rides his bike through the rain, stopping at an arcade. He enters, finding Larry playing at a machine.]

CHARLIE: Larry, something went wrong and I don't know what. And now it's like I can't even think.

LARRY: Well, let me guess. You tried to solve a problem involving human behavior and it blew up in your face.

CHARLIE: Yeah, pretty much.

LARRY: Okay, well, Charles, you are a mathematician. You're always looking for the elegant solution. And human behavior is rarely, if ever, elegant.

[The camera pans the high score list of the game, all scores following the name 'LARRY'.]

[Larry sighs.]

LARRY: No, the universe is full of these odd bumps and twists. You know, perhaps you need to make your equation less elegant, more complicated. Less precise, more descriptive. It's not gonna be as pretty. But it might work a little bit better. And Charlie, when you're working on human problems, there's gonna be pain and disappointment. You gotta ask yourself: "Is it worth it?"

[Cut to: Charlie's office. He begins erasing his work from the chalkboard. He sits and looks through photos of the victims slowly. He looks out the window at the rain.]

[Cut to: FBI office. Don looks through the same photos. He looks out the window at the rain.]

[Cut to: Outside a school building. Many students leave. Time passes, and three girls remain.]

WOMAN: I'll see you guys tomorrow. Bye. Bye.

[Two walk away, leaving the woman alone. She walks towards her car and gets in. She moves to start it when someone rises from the back seat and grabs her from behind.]

[Fade out.]

[Fade in: Eppes' house.]

CHARLIE: I can't get my head around it.

DON: What are we missing? Where's the problem, and how do we make it work? We have to make it work.

CHARLIE: We need to retest it.

DON: Yeah.

CHARLIE: We need another run.

DON: Well, that's not gonna happen.

CHARLIE: Well, look. I know that it's gonna be hard for you to talk your boss into doing it again, but we can't stop after one attempt.

DON: Charlie-

CHARLIE: I've always found that new methods require repeated trials.

DON: Charlie, I'm not on the case anymore. Okay?


DON: Because my supervisor wanted fresh eyes on it.

ALAN: Well, maybe the math is not the problem.

CHARLIE: What do you mean?

ALAN: Well, you just said that there was something you couldn't get your head around, and I know for a fact that it can't be the math.

CHARLIE: What else is there?

DON: Wait, maybe he's right. I mean, this sprinkler, that totally made sense. That you could track back from the location and find out where the guy lives, right? Totally made sense. Maybe we're thinking about this guy in too narrow a focus.

CHARLIE: Are you saying I need to consider more than his criminal activities?

DON: No, not exactly. I'm saying maybe we need to consider more than just where he lives. You know, look at me. If you designed an equation to find my origin, you wouldn't get my apartment cause I'm almost never there. My base would be my office.

CHARLIE: Which means he'll use his home and his work as points of origin.

DON: Exactly.

CHARLIE: I can design an equation to identify two hot zones. Why didn't I think of that? Don... Dad...

ALAN: Uh huh.

CHARLIE: That's brilliant.

[Cut to: FBI office. A map showing two hot zones is removed from a printer.]

CHARLIE: This new equation works back from the crime scenes to identify two locations so, two hot zones, but, you know, very, very different.

DON: Right.

CHARLIE: The old zone was residential. The new zone is in an industrial area.

DON: Home and work. We know he wasn't in the home zone. What would be helpful is if we had a blowup of the industrial.

CHARLIE: It's printing out.

[Don pulls a second map from the printer.]

CHARLIE: Theoretically, if you find somebody in this new zone, the work zone, he should have a link to the old one, yeah?

DON: Enough theory, let's test it.

[He picks up the phone and dials.]

DON (into phone): This is Special Agent Eppes in Los Angeles. I need to run a database search for companies in the industrial district of Vernon, Los Angeles, California.

[Footage of the industrial area, many workers in a crowd. Those whose names are mentioned are singled out.]

VO: DON: Laurence Doughtery.

[Text reads: 'Laurence Doughtery, suspect #04'.]

VO: DON: Bruce Dorr.

[Text reads: 'Bruce Dorr, suspect #03'.]

VO: DON: Brian Callahan.

[Text reads: 'Brian Callahan, suspect #02'.]

VO: DON: Peter Carlucci.

[End footage.]

[Others begin to enter the room.]

DON: Hey, guys, check it out. Got a second hot zone.

CHARLIE: W-works with the first.

DON: I'm running employee databases of companies in the new zone against FBI database of sexual offenders. We narrowed it to eight guys. Adam Klanzani, 77. He's too old. John Dorstaf, pedophile. It's not him. Victor Tommani, in jail until two months ago. Wait a minute, here's something.

CHARLIE: What is it?

DON: Roland Haldane. Runs a small party rental company in Vernon. Arrested for attempted rape twelve years ago.

[David and Terry enter.]

TERRY: Good morning.

DON: Morning, guys. Hold on. We're - we're headed out of here. Miller!


TERRY: What's going on?

DON: Need you to check out this guy's residence. Let's go, guys.

TERRY: What's going on?

DON: I'll tell you on the way. Come on. Let's move. Let's go!

[Cut to: Outside warehouse. Terry, David, and Don sit in their vehicle.]

TERRY: The suspect hasn't returned to his house.

DON: Well, that looks like his van there.

[They exit and walk towards it.]

DON: Terry, why don't you check for other entrances?

[She stays back. Don knocks on the door.]

HALDANE: Hang on.

[He opens the door.]

DON: Hi.

HALDANE: Can I help you?

DON: Yeah, I'm Special Agent Eppes. This is Special Agent Sinclair. Uh, we're following up on a report. Mind if we come in?

HALDANE: Sure. Come on.

[They enter.]

[Cut to: Inside.]

HALDANE: Bootleg DVDs? Being sold around here? You feds are serious about this pirating stuff.

DON: Yep, we are.

[They enter a large kitchen.]

DON: You prepare food here?

HALDANE: Yeah, I do a little catering on the side.

DON: You cook?

HALDANE: It's a one-man operation. I do everything.

[Don picks up a small blow torch and uses it for a moment.]

HALDANE: Crème brulee.

[Haldane takes a drag from his cigarette.]

[Cut to: Outside. Terry finds a door with a window. She tries the handle, but it's locked. She peers inside.]

[Cut to: Kitchen. Don picks up a rather large knife.]

[Haldane drops his cigarette butt to the ground and smothers it with his shoe.]

[Cut to: Outside. Terry spots a window. She climbs up to get a better look.]

[Cut to: Kitchen. Don adjusts the blow torch to look at the bottom of the handle, revealing the same four-cross mark left on the rape victims. He looks at Haldane, who stares back for a moment before turning to run.]

DON: David, it's him!

[Haldane grabs David from behind, quickly disarms him, and holds a knife near his neck.]

DON: Drop that knife! Drop the knife or I'll shoot! Drop it now! Drop it! Drop that knife!

[Cut to: Outside. Terry wipes dust from a window and looks in. She spots a woman's legs.]

[Cut to: Kitchen. Don follows Haldane, gun ready.]

[Cut to: Outside. Terry quickly prepares to break the window.]

[Cut to: Kitchen. Haldane and David are still struggling.]

DON: Drop it!

[Cut to: Outside. Terry breaks the window open.]

[Cut to: Kitchen. The shattering is heard, causing Haldane to look away. David takes his moment of opportunity, pulling away from him, groaning as the knife cuts his hand. Don shoots Haldane, who falls to the ground.]

[Cut to: Outside. Terry climbs in the window. She approaches a woman with a plastic bag over her head.]

TERRY: Shh. Shh.

[She removes the plastic, and the woman gasps for air and cries. Terry holds her as she dials her cell phone.]

TERRY: Shh. It's okay.

DON: Terry!


DON: Terry!

TERRY: Don, in here!

[Don and David rush in.]

TERRY: She's alive. I called paramedics, they're on their way.

DON: You all right?

[David coughs.]

TERRY: Yeah. You okay?

DON: Yeah.

[We see the towel David has wrapped around his injured left hand.]

DON: You all right there?

DAVID: Yeah.

DON: Yeah.

DAVID: Thanks.

DON: Good job.

DAVID: Thanks.

[Cut to: Outside. The coroner wheels the body bag presumably containing Haldane's body away. A car pulls in with Charlie in the back seat. Charlie exits.]

CHARLIE (to driver): Thanks.

DON: Hey, Charlie.

TERRY: I'm gonna talk to the victim.

[Don approaches Charlie.]

DON: Hey. Come here.

[Charlie watches as the coroner passes with the body.]

DON: Something I wanna show you. Haldane lived in Century City, but he just moved there three weeks ago. Look where he used to live.

[Shot of the van's rear fender:

EXP 05
EXPIRES 2-14-05, VEH LIC #467-B']

DON: That's why we couldn't find him in the first hot zone.

CHARLIE: He was there, but he moved.

[Don nods.]

DON: That's a hell of an equation, Charlie.

CHARLIE: Thank you.

[Don pats Charlie on the shoulder. Charlie looks over at Terry and the victim speaking in the back of the ambulance. A paramedic bandages David's hand. The coroner straps the body onto the gurney and begins to put it in the van.]

DON: Come here.

[He puts an arm around Charlie's shoulders.]

VO: CHARLIE: Everything is numbers.

[The word 'numbers' echoes and fades.]

[Fade to black.]



Shawn Green (Himself (Archive Footage))
Anthony Heald (Walt Merrick)
Kate Norby (Karen Silber)
William O'Leary (Roland Haldane)
Gibby Brand (Dr. Michael Sabello)
Karl Calhoun (Asst. Medical Examiner)
Amanda Carlin (Forensic Technician)
John Lacy (Police Detective)
Kristen Ariza (Nurse)Richard L.D. Saxton (Reporter #1)
Anna Maganini (Reporter #2)
Mark Berry (Reporter #3)
Michele Graff (Rachel)
Lindsay Frame (Teacher)
James Sie (Technician)


Navi Rawat (Amita Ramanujan)


Judd Hirsch (Alan Eppes)
David Krumholtz (Charlie Eppes)
Peter MacNicol (Dr. Larry Fleinhardt)
Alimi Ballard (David Sinclair)
Sabrina Lloyd (Terry Lake)
Rob Morrow (Don Eppes)

Rédigé initialement par Singularity.
Dans Saison 1
Dernière modification de la page le 02/08/2008 à 01h07.