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1#02 Le démineur

Ce transcript en VO vient du site Numb3rs-Online, avec l'autorisation du webmaster.

01x02 - Uncertainty Principle

Original Air Date on CBS: 01/28/05

Director: David Von Ancken

Writers: Jeff Vlaming

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 other producers, actors, or writers of the show.


[Text reads: 16 Banks Robbed, 2 Suspects, $2,700 Average Take, 0 Weapons Used]

[Various footage of two men from what appears to be a security camera.]

VO: CHARLIE: Bank robbers, creatures of habit. Once they develop a successful routine, they stick to it. Time of day, day of the week, choice of weapon, disguise, region. These will be the same again and again.

[Cut to: Koi pond. Fish swim beneath the surface of the water.]

CHARLIE: It's actually a lot like these fish. Given enough time, it's possible to discern a distinct pattern that each one will follow.

LARRY: Well, mathematicians, they do so love finding these patterns, don't they? Tell me, what have you gleaned from this set of repeated crime phenomena?

CHARLIE: An equation for the FBI that predicts when and where these two particular robbers will strike next.

[Cut to: Front of Arroyo Seco Bank. Don sits across the street in a silver car, watching.

VO: CHARLIE: I told my brother they'd hit today.

DON: Curtis, you see anything?

[Cut to: Curtis, looking inconspicuous with a pay phone held to his ear.]

CURTIS: Clear.

[Cut to: Don.]

DON: Keith?

[Cut to: Keith, standing beside an ATM.]

KEITH: Clear.

[Cut to: Don. He looks around.]

[Cut to: A map with a red dot labeled 'Location 1, Arroyo Seco Bank'.]

VO: CHARLIE: At one of two locations.

[Camera pans over and we see a second red dot, labeled 'Location 2, Central Los Angeles Savings Bank'.]

[Cut to: Front of Central Los Angeles Savings Bank. David walks past with a cup of coffee, and McKnight sits at a table, a cell phone pressed to his ear as a disguise. Terry, like Don, is waiting in a car across from the entrance.]

[Security camera footage of the two men.]

VO: CHARLIE: They've hit sixteen banks in eight months. The FBI's nicknamed them the Charm School Boys,

[Footage of a newspaper, 'Los Angeles Chronicle,' with a headline reading 'Charm School Boys Hit Pacific Mutual Bank'.]

VO: CHARLIE: because they're so nice and polite.

[Back to security camera footage.]

VO: CHARLIE: They don't use weapons or threats. They say "please" and "thank you." They even open doors for other bank customers on their way in and out.

[Cut to: Larry and Charlie beside the koi pond.]

CHARLIE: Using a combination of probability modeling and statistical analysis, I've pinpointed the next robbery.

[Cut to: Outside of Central Los Angeles Savings Bank. David is seated at the table beside the McKnight. He checks his watch.]

DAVID: It's one thirty. If these guys actually show up within the time window Charlie's predicted, it's kind of amazing.

[Cut to: Terry.]

TERRY: Yeah, I know.

VO: DON: Wanna hear something wild?

[Cut to: Don.]

DON: When I was in college, I played baseball. Charlie could predict the amount of walks I was gonna get just by my stance.

[Cut to: Koi pond.]

LARRY: Charles, I have no doubt in your ability to predict the movements of fish and men. But I would offer one cautionary note, just colleague to colleague.

CHARLIE: And what's that?

LARRY: Don't mistake the ability to predict with the ability to control.

CHARLIE: Yeah, I think I know the difference.

LARRY: Oh, to be young and brilliant and full of yourself.

CHARLIE: Just consider, these Charm School Guys or Boys or whatever, they have no idea what's about to happen to them. But my equation does.

[Quick footage of fish before...]

[Cut to: Outside Central Los Angeles Savings Bank. The two men walk by.]

DAVID: I have the targets.

[Cut to: Don.]

DON: Positive ID?

[Cut to: David.]

DAVID: Two Caucasian males, mid to late thirties, baseball cap and sunglasses.

[Cut to: Don.]

DON: I'm on my way. Let's go, let's go, let's go.

[Cut to: Terry. She exits her vehicle.]

[Cut to: Outside Arroyo Seca Bank. Don pulls away, tires screeching. Keith and Curtis both leave their positions.]

[Cut to: David. He watches the two men enter the building before rising from his seat.]

DAVID: Team two, Baker, you got 'em?

[Cut to: Inside bank. A female agent disguised with a phone against her ear watches the two men pass.]

BAKER: Got 'em. Teller number three.

[Cut to: Outside bank.]

AGENT: We're movin'.

[Terry creeps up toward the front of the bank.]

DAVID: Everybody watch your line.

[Cut to: Inside bank. Baker watches the two men speak with the teller.]

BAKER: Subject one is asking the teller to hand him the cash drawer.

[Cut to: Outside. All three agents watch the door.]

[Cut to: Inside bank. The two men pass by Baker once more.]

BAKER: They're coming out.

[Cut to: Don, driving quickly.]

DON: David, what's your status?

[Cut to: Front of bank.]

DAVID: They're coming out, Don. We have to move in.

DON (over transmitter): Go.

[The two men exit the building. All three agents raise their weapons, and shout.]



[The men just stand there.]

MCKNIGHT (slowly, emphasizing): FBI!

[One of the men tips his cap before the pair begins to walk away. Suddenly, a gun is fired and the McKnight is shot and he falls to the ground. Another man pulls out a weapon and begins firing. All the people lower to the ground searching for cover. A machine gun fires at Terry, safe behind the wall of the bank. David watches helplessly as their two robbers simply walk away.]

[Cut to: Don, listening, still driving towards the bank.]

TERRY (over transmitter): David, how many shooters?

DON: All units, what's going on?

[Cut to: David and Terry in front of bank.]

TERRY: Shots fired. Multiple shooters. Agent down.

[We see McKnight laying face-down on the ground.]

[David shields himself from bullets.]


[Fade in: Don pulls in front of the bank, tires screeching. He gets his gun ready as he shields himself behind the car door.
Bullets break through his windshield. Two civilians are trying to make their way up the stairs. Don approaches them.]

DON: Get down! Get down! Stay small!

[A bullet shatters the glass door of the bank, people scream.]

TERRY (OS): Get back, get back!

DON: Get back!

[He looks around the front of the building, making eye contact with Terry.]

DON: You all right?

[She nods.]

DON: Cover me.

[Gunshots are fired as Don moves forward, towards David.]

DON: What do you got?

DAVID: Agent down!

[The camera slides down to show McKnight's body, then back up to David.]

DON: I'm gonna go for McKnight. You cover me with this, all right?

[David holsters his weapon and Don slides his gun across the ground over to him. A man takes his chance and tries to shoot at David, who shields himself back behind the wall just in time.]

[Overhead shot of the area, McKnight's body on the ground.]

[Cut to: Eppes' house, the same overhead shot on a television screen, KCEI news.]

VO: REPORTER: This is a live breaking report from the channel eight news...

[Larry and Charlie in the kitchen. Charlie is dishing out pie for the two of them.]

LARRY: I also have a post doc who needs help with some references on an article. Maybe you could recommend a couple math students?

CHARLIE: Wait, wait. Let's clarify. This is the redheaded post doc? Red hair and she rollerblades?

LARRY: Yeah, you know, really brilliant theoretician.

CHARLIE: Well, forget the undergrads. I'll help her.

[Larry doesn't appear to be paying attention, his eyes fixed on the television.]

VO: REPORTER: ... injured in the crossfire where a shootout between federal agents and suspected bank robbers in progress. I see several people who are lying on the ground...

[Charlie rushes out of the room.]

[Cut to: Front of bank. The gunfight is still in progress.]

DON (crouched on the ground): Ready?

DAVID: Move!

[David shoots at the attackers as Don hurries out and pulls McKnight's body where they're shielded. He rolls McKnight onto his side and feels for a pulse. He shakes his head at both David and Terry. He peers over the coffee cart he's using as shelter and sees two retreating shooters.]

DON: They're covering their exit! Terry, go!

[He looks over at David.]

DON: Ready? Move!

[They begin to move forward, shooting at the gunmen. David spots a man about to pull a gun and fires. Don spots a man hiding behind a car, a radio transmitter in his hand.]

DON: Get your hands where I can see them! Get those hands up!

[The man raises his arms.]

[Terry approaches as well.]

TERRY: Freeze! Don't move!

[The man begins backing away from the vehicle.]

DON: Drop that radio! Drop it!

[He steps forward to shoot as the man begins to run but the car explodes, throwing Don to the ground. The car alarm goes off.
Sirens blare in the distance. Don sees the men get into a small car and pull away.]

DON: I got two suspects fleeing in a silver sedan, license...

[He sees the police car pass the silver one in the opposite direction.]

POLICEMAN (over transmitter): Kidnapping in progress. Eight year old female, all available units, please respond.

POLICEMAN 2 (over transmitter): Uh, this is one-Adam-six. Shouldn't we secure the area before we pull out?

DON: They're in our system! They're in our communications system! They're making false reports!

DISPATCHER (over transmitter): Any available unit report to...

[Don spots the man in the baseball cap disappearing behind a wall.]

DON: Secure the area!

[He runs forward.]

DON: He went that way. Come on, come on!

[Don and Terry run down the street and around a corner. David enters the basement of a building. He walks through slowly, gun ready. He spots a body on the floor. He looks at it a moment, then continues walking. The man in the cap appears, grabs Don's gun and pushes him to the floor. The gunman shoots twice at Don before Terry shoots at him, giving Don time to stand. As a distraction tactic, the man pulls down the shelves against the wall and they come toppling down on top of Don. Terry approaches him.]

TERRY: You hit?

DON: He got my gun!

[He groans as he begins to push himself up.]

DON: Go that way!

TERRY: You hit?

DON: Go that way!

[She complies.]

[Cut to: Don and Terry walking through the basement.]

DON: Where'd he go? I mean, how could we miss him?

[He spots something on the floor and walks over to it. It's a small wad of material. He lifts it with a pen, examining it closely.]

[Cut to: Front of bank. The car is still on fire; firemen working to control the blaze. Charlie walks through the scene in a daze, all sounds muffled and in the background. He passes Terry, talking to a man.]

TERRY: This is an active crime scene, do you understand?

[A guard stops Charlie.]

GUARD: Stop right there.

TERRY: It's - It's okay. Let him through.

[Charlie passes, all sounds still muffled. A body is wheeled by on a gurney. He begins climbing the steps of the bank, watching as McKnight's body is placed into the body bag. A man helping an injured woman passes Charlie on the stairs. A large number of shell casings and shattered glass lay on the ground beside the marker reading '16'. We hear a casing clatter to the ground. The focus moves to a bullet lying in a pool of blood. Close up on the bullet. Charlie swallows. Terry approaches him from behind.]

TERRY (muffled): Charlie. Charlie?

[Charlie keeps moving forward. He passes a column and McKnight's feet come into view.]

TERRY (muffled): Charlie?

[He still continues forward as the body bag is zipped. Close up on McKnight's face, a man holding his head up as another zips the bag shut. The two coroners walk away. Charlie finally turns to Terry, a blank expression on his face.]

CHARLIE: Where is Don?

[Terry looks at him a moment before replying.]

TERRY: He's over there.

[Cut to: Back of ambulance. An EMT is bandaging Don's left arm. Terry and Charlie approach.]


DON: Hey. Hey, Charlie. How you doin'?

[He sees the worried look in his brother's eyes as Charlie looks at his wound.]

DON: It's okay, really. It's fine.

CHARLIE: They weren't violent. There were two of them. Why sixteen robberies exactly the same... and then this?

DON: I don't know. I mean, first of all, nobody ever tried to stop 'em, right? And it wasn't just two guys. You know, they had four backin' 'em up.

TERRY: Yeah, we had no way of knowing until we confronted them.

EMT: That's it. You're good to go.

[Don stands and begins to leave.]

DON: Nothing to dad, right?

[Charlie doesn't respond.]

DON: Charlie, don't say anything to dad. I'll take care of it, okay?

[Charlie still doesn't speak.]

DON: You heard me, right?

[Charlie nods, and Don leaves.]

[A string of Charlie's thoughts, including formulas, him writing on the chalk board, the koi pond, the security camera footage, and the overhead shot of the crime scene showed on the news.]

[Cut to: FBI office. David places his phone on his desk and takes off his jacket. Don speaks from his desk, a few feet away.]

DON: "Charm School Boys." I mean, I'm sorry, they came prepared for war.

[David walks over and leans against the desk.]

DAVID: We've got people lookin' at the security tapes from the previous robberies, uh, to see if the same accomplices were present at those incidents as well.

DON: And there's no doubt in my mind that was a detailed ambush-and-escape plan.

TERRY: They didn't hesitate to kill.

[Don shakes his hand and leans forward, resting his elbows on his knees and putting his face in his hands. David and Terry watch, and Don sighs, looking back up.]

DON: I mean, from what I understand, in the last five years this office has only lost two agents in the line of fire?

[Terry nods, and Don sighs again.]

DON: McKnight's parents are flying in from Denver tonight. I'm gonna go talk to 'em at the hotel. I mean, I don't know what you say to a parent about their dead son.

[He stands.]

DON: All right. What do we got so far?

DAVID: Um, we think that their crew, uh, consists of at least six individuals. From the firearms, use of explosives, the false 9-1-1 calls, we're assuming it's a team with extensive training and experience.

TERRY: The gunman David shot was identified by his driver's license as Malcolm Stapleton, thirty-six, video game designer. No criminal record.

DAVID: How does somebody go from no criminal record to firing on federal agents with an assault weapon?

DON: That's the question we need to be asking. We need to know a lot more about this dead guy.

TERRY: Already on it.

DON: That's the first thing we need to know, and we have to assume with their planning and preparation, they're not gonna hesitate to hit another bank. So, even though we're looking at this guy, Charlie's equation, that's still our best lead.

TERRY: Well, he was able to predict today's robbery. He should be able to tell us where they're gonna go next.

[Cut to: Layout room. Two clear boards filled with equations are set at a right angle to each other. Charlie sits in front of one, Don standing behind him and Terry off to the side.]

DON: Charlie, did you hear what I said?

[He stares up at the board for a minute before speaking.]

CHARLIE: Oh, I'm just, um... Thinking.

[Don and Terry watch him intently. Charlie clears his throat and turns in the chair to face Don.]

CHARLIE: Understand, this is an entirely new problem now. The pattern I was working form was a false pattern.

TERRY: No, no, not so much false as incomplete. You were able to accurately predict today's robbery.

CHARLIE: Right, but there's new factors now. Okay? They aren't two unarmed guys. So the assumptions we made about them are invalid.

DON: Okay, all right, all right, look, so you take the-the new factors, and you make a new equation.

[Charlie stands, frustrated.]

CHARLIE: It's not that easy, man. It's not that easy because, uh... There's something else that has to be considered.

DON: Like what?

[Charlie hits his fist against yet another board showing a map of marked locations.]

CHARLIE: Heisenberg's uncertainty principle. Heisenberg noted that the, uh, the act of observation will affect the observed. In other words, when you watch something you change it and, uh, it-it, for example, like an electron. You know, you-you can't really measure it without bumping into it in some small way. Any physical act of observation requires interaction with a form of energy, like light. And that will change the nature of the electron, it-it's path of travel.

DON: Right, all right, hold on. You know I got like, a C in physics. So just take me through how this relates to the case.

CHARLIE: Don, you've observed the robbers. They know it. That will change their actions.

TERRY: Okay, so they change their M.O., but we don't have to back to square one. We know some things about them. We have a basis for making some conclusions.

CHARLIE: Right. Well, good. But I, um... I can't help. I can't do this.

TERRY: Charlie, you feelin' okay?

[Charlie turns and faces away from both of them.]

CHARLIE: Yeah. It's just my stomach's been bothering me. A lot.

TERRY: That's normal. It happens to a lot of us after something like today.

CHARLIE: Really? I was the only one I noticed throwin' up at the crime scene.

DON: Look, buddy, come here. Turn around. Charlie, listen to me.

[He puts his hands on Charlie's arms and turns him to face him.]

DON: What you saw was-was bad, okay? I know. Trust me. It-it takes a while to process that. So what I want you to do is go home. Come on. Put that down. Give me that.

[He pulls the eraser from Charlie's hand as he attempts to erase the work.]

DON: Charlie, you go home and you get some rest. Go. When you come up with something, just call us, all right?

TERRY: Charlie, call me if you wanna talk about anything, okay?

[Charlie continues walking.]

DON: Charlie?

[He turns.]

DON: We're counting on you, buddy.

[Fade out on the equation: IF(G12=0 IF(E12=0, G12, (F12/E12)-1)) ]

[Fade in: FBI office. Don and Terry walk down a hall, a man close behind.]

DON: What do you got?

[The man hands Don a paper.]

DON: The explosive in the car bomb was C-4. Check into that batch.

[The man turns and leaves.]

DON: How are we doin' on the fake 911 calls?

TERRY: Two individuals using cell phones with scramblers. We're preparing voiceprints.

DON: Right, we got any hits on crews with similar M.O.s?

WOMAN: No, so far it's unique to these guys.

DON: And-and we should be checkin' in-into armored transport and-and jewelry, fine art, right? I mean, they could've started in any one of those and, uh, moved on to banks.

[He leans against a table and sighs, running a hand over his face.]

DON: I should be lookin' at mug shots, right?

TERRY: Did you get a good look?

DON: Yeah, definitely.

[A woman approaches.]

WOMAN: Agent Eppes. That piece of evidence you found at the scene? We know what it is.

DON: Excellent.

[Cut to: Inside a lab. The woman pulls apart the crumpled material with her tools, carefully.]

WOMAN: It's an ultra-thin plastic mask that you can peel off in a second, wad up, and throw away.

DON: Right. I micromask. The CIA uses the stuff for covert operations.

TERRY: That explains how he was able to just disappear.

WOMAN: He could alter the shape of his face, his nose, making him unrecognizable.

DON: Oh, so much for mug shots.

TERRY: I'm gonna find out where you can get one of these things.

DON: All right. Thanks.

WOMAN: Sure.

[He and Terry leave.]

[Cut to: Eppes' garage. Charlie turns on the light and makes his way through to pull out a bike. He comes back and continues to remove various objects. Time lapse: many objects disappear. He comes back in to pull away the last thing. He returns with a chalkboard, which he hangs at an angle, touching both the wall and ceiling, beside one set the same way. He writes a bit on it, then crosses the room to write on a second chalk board. When he moves that one, we see a third chalkboard hanging like the first two. He hangs the one from the floor onto the ceiling as well. Time lapse: Many chalkboards appear on the back wall, a few creeping onto the side walls as well. Charlie is on a ladder, writing on the board that has now been hung flat on the ceiling. He climbs down the ladder to hang yet another chalkboard on the last wall. He stands in the center of the room, looking around at all the boards. He sets one on the floor and begins erasing when Larry enters.]

LARRY: Charles? Charles? Oh, listen, I just stopped by. A-A-Amita said that you weren't gonna be coming to campus tomorrow, and... I don't know, I mean, surely you remember you're giving a presentation to my graduate seminar.

CHARLIE: Larry, I'm right in the middle of a significant line of thought.

[He lifts the chalkboard and moves to hang it on the wall.]

CHARLIE: Right now isn't the best time for me to be entering in on a discussion with anyone. No offense.

LARRY: No, no, no, none taken. It's just that Amita said that you also said that you wouldn't be coming to school for a while? And I just think, uh, you know, considering your teaching schedule, the upcoming semifinals... I mean, uh, uh, it struck me as rather odd. Just kind of entirely unworkable.

CHARLIE: Maybe so, but I'm close to a breakthrough on this three-set and so I-I-I need to follow through on this line of current algorithms now while I have a fix on it.

[Cut to: Front of house. Don pulls into the driveway, and Alan comes out the front door.]

ALAN: Donny.

DON: Hey, dad.

ALAN: You all right?

DON: Yeah, yeah, I'm okay. I'm fine.

[Alan reaches out to touch his arm.]

DON: Ow, ow. Look, it's just my arm's a little sore. I got a-a scrape during an incident.

ALAN: Scrape? From what?

DON: Well, a bullet, if you have to know.

ALAN: A bullet?

DON: But it's not... Dad, please listen to me, okay? Just relax. We had a-an arrest go bad and we lost an agent, okay? Three people died. Now, I'm looking for Charlie. Where is he?

ALAN: He's-he's out in the garage with Larry. He's upset. Now, I can see why now.

DON: Whoa, what's he doin' in the garage?

ALAN: He's just working on that problem. You know.

DON: What?

ALAN: That problem he can never solve.

DON: The P versus P thing?

ALAN: Yeah, that's the one.

DON: Oh, man.

ALAN: Let-let - Where're you going?

DON (as he's walking away): I gotta talk to him. I need a new equation.

[Cut to: Garage interior.]

LARRY: You know that it's considered unsolvable?

CHARLIE: Well, certainly people who have failed to solve it might think that.

[Don enters.]

CHARLIE: But we all know, minesweeper consistency is an NP-complete problem. So I believe that there is an answer in here somewhere.

DON: Minesweeper? What are we talking about? Computer games?

CHARLIE: Yes, but if you keep talking to me, I'm gonna lose my train of thought. So, please, don't talk anymore. Cause I-I-I need to follow through on-on this-this line of-of adjacent vertices.

DON: Look, please don't do this.

CHARLIE: Don't do what, Don? Go ahead, g-go ahead, try and tell me what it is that I'm doing. You don't even know what it is that I'm doing!

DON: No, actually, I do. The thing is, I don't think you do.

LARRY: Okay, I'm gonna go contemplate the koi pond.

[Larry leaves.]

DON: Charlie, look, you helped us find these guys once before. You can do it again. Come on.

[Charlie begins moving another chalkboard.]

CHARLIE: Why, so you can get shot again?

DON: No, buddy. Look, understand I appreciate you care about me, but it's not gonna happen.

CHARLIE: Statistically, you're dead now. Do you understand what that means? A man aimed a gun at your head and fired. The fact that you survived is an anomaly and it's unlikely to be the outcome of a second such encounter.

DON: Listen to me. We don't have many leads, okay? If you can help us predict when and if these guys are gonna hit another bank, this is the only shot we got.

CHARLIE: Please understand, sometimes... I can't choose what I work on. I can't follow through on a line of thinking just because I want to or-or because it's needed. I have to work on what's in my head. And right now, this is what's in my head.

[He begins writing furiously.]

[Cut to: FBI office.]

TERRY: This is the license we got off the guy that David shot, which IDs him as Malcolm Stapleton, right?

[She hands the license to Don.]

DON: All right.

TERRY: This is the duplicate license of Stapleton we got from the DMV.

DON: So, if the one we got off the body is a fake, then who is he?

TERRY: His current neighbors recognize that guy as Stapleton.

[She points at the license in his hand.]

TERRY: Let's go talk to the neighbors of his former residence.

DON: All right, that's a good idea.

TERRY: Yeah.

[They begin to leave.]

TERRY: Hey, how's, uh, how's Charlie doing?

DON: I don't know. He's just workin' on some famously unsolvable math problem, which is not a good sign.

TERRY: At least it's not binge drinking and strip clubs.

DON: That's true.

[Cut to: Apartments. Don and Terry talk to a woman standing in her doorway.]

TERRY: You're sure this isn't Malcolm Stapleton?

WOMAN: Yes, I'm sure because that's Malcolm's brother. What happened to him?

DON: He was involved in an accident. What's the brother's name?

WOMAN: Bill Stapleton. He showed up a few months ago. Said Malcolm had gotten a job back east and wouldn't be coming back.

TERRY: Did Malcolm ever talk about having a brother, or say anything about getting a new job? No. Never even said goodbye.

DON: Okay, well, thank you for your time.

TERRY: Thank you.

[The woman goes back inside and shuts the door as Don and Terry head back down the hallway.]

TERRY: Okay, so our dead guy is the brother of a man who was an only child.

DON: Right.

TERRY: Where do you wanna start?

DON: I'm thinkin' if he never said goodbye, maybe Malcolm never moved from here.

TERRY: Let's talk to the manager.

[Cut to: Basement. Don and Terry scan the walls with flashlights.

DON: The super said contractors came in to do work down here, but the owner never ordered the work.

[They reach the end of the corridor. Don lowers himself beside the freshly constructed sheetrock.]

DON: Hey.

[Terry approaches.]

DON: Check this out.

[Don knocks on the wall.]

DON: Looks brand new.

[Cut to: Behind wall. The center is pounded away by a sledge hammer.]

DON: That's good. Let me look in there.

[He shines the flashlight in the area, revealing a body in the back of the concealed space.]

DON: Whoa. You see that?

TERRY: Looks like we just found Malcolm.

[Cut to: FBI office.]

DON: We found a body identified by fingerprints as Malcolm Stapleton.

TERRY: We think the man you shot killed Stapleton and stole his identity.

DAVID: Good. I'd like to be there when you talk to the M.E.

DON: All right.

[Cut to: M.E.'s office.]

M.E.: Malcolm Stapleton died from massive blood loss after his carotid artery was severed. The killer knew what he was doing.

DON: How so?

M.E.: Well, the thing is, most people don't know how to slit a throat. They think you pull back the head like this, [He demonstrates.] but in this position the windpipe provides some protection to the major blood vessels. However, tilt the head forward, [He demonstrates.] the arteries are exposed. The cut was made away and down from the assailant, minimizing blood spatter. The weapon was an extremely sharp wide-blade knife.

DAVID: Somebody with medical training?

M.E.: More like military experience.

DON: You know, the victim in the robbery, the guy in the boiler room, had his throat cut exactly like this.

M.E.: The wound on that body was very similar, but here's something new. Look at this.

[He hands Don a photograph.]

M.E.: Electrical burns. This man was tortured before he was killed.

DON: All right, so they kill efficiently, they use torture, and they can execute a coordinated escape.

DAVID: You're thinking military?

DON: I'm thinking special forces.

[Don's cell phone rings. He answers.]

DON: Eppes... We're on our way.

[He hangs up.]

DON: Charm School Boys just hit another bank. Let's go.

[He places the photo on the M.E.'s table as he follows David out of the room.]

DON: All right, thanks.

[Fade out.]

[Fade in: Bank, the site of the most recent robbery.]

[Don exits the car and Terry approaches him.]

TERRY: Hey. Same M.O., same two guys. Asked for cash, didn't show a weapon, but when the assistant manager followed them outside and pulled out a cell phone, they shot him.

DON: Do you realize that this breaks the pattern of two weeks between robberies? Excuse me.

[He pulls on gloves and looks down at the body. A cell phone rings. Next to the body lies the victim's cell phone, the source of the ringing. Don picks it up carefully and answers it.]

DON: Hello? Uh, yeah, actually I think you might have the right number. Ma'am, my name is Don Eppes with the FBI. There's been an incident. Are you at home? Can you please stay there? We-We're gonna come see you.

[Don nods at Terry and she pulls out a small notepad.]

DON: What's your address?

[Cut to: FBI office. Security camera footage of the two men. One approaches the camera, holding up a gun, clearly displaying it for those viewing the tape.]

DON: That's my gun.

TERRY: Classic psych-ops technique. He's trying to get inside your head so you don't think clearly and dispassionately.

DON: Yeah, well, we need to look beyond conventional military. Start concentrating on Delta Force, Navy Seal units.

TERRY: I agree. Have you shown any of the new data to Charlie?

DON: No, he's not working the case. Just that crazy math problem day and night. I mean, the last time he pulled one of these is when our mother got cancer.

TERRY: They were close?

DON: Yeah. But, I mean, when she came home from chemo, he couldn't deal. He just s-stayed in the garage, I mean... He didn't spend any time with her.

TERRY: What are you thinking?

[Don turns and begins to leave.]

DON: That he can't stay in the garage forever.

[Cut to: Eppes' house. Don walks across the backyard, approaching Charlie, as Alan and Terry watch from inside.]

ALAN: You know, Don and Charlie, they graduated high school on the same day. [Alan hands her a drink.]

TERRY: Thank you. Don's mentioned it. A few times.

ALAN: Kinda puts an edge on that sibling rivalry thing, you know?

TERRY: Yeah, I'm sure it does. But having a kid like Charlie had to put some unusual pressure on the family. How old was he when you first realized he was exceptional?

ALAN: I think he was three when he multiplied four-digit numbers in his head. By the age of four, he needed special teachers, special classes. My wife... I mean, his mother and I, we put a lot of time into his education. It was Don, he was the one who had to get used to taking care of himself.

TERRY: Well, he might have gotten used to it, but I'm not sure he's as good at it as he thinks he is.

ALAN: Ah, well, it's hard for him to ask anyone for help. And it's really hard for him to ask Charlie.

[Cut to: Out side. Charlie is squatted down beside the koi pond, Don standing behind him.]

DON: I mean, we-we think they have special military training and now they have struck again and killed another innocent person. Charlie?

[Charlie doesn't respond, simply stands and moves to the side.]

DON: Charlie, please don't do this.

[He still doesn't respond.]

DON: Do you understand the stakes we're dealing with here? More bloodshed, people's lives. I mean, if I have to do this on my own, it's gonna put me and all of my people at greater risk. Is that what you want?

CHARLIE (quietly, not making eye contact): Their old pattern's gone. I told you that.

[He moves to walk past Don, who grabs him by the front of his jacket.]

DON (loudly): Well then there's gotta be a new pattern, doesn't there? Isn't that the way it works? You incorporate whatever's goin' on?


[Don lets go of his jacket and sighs.]

DON: I'm sorry.

[Charlie merely straightens out the front of his jacket.]

DON: I'm sorry. I need your help, you understand?

CHARLIE: I don't think I - that I can...

DON: Charlie, I know it's hard for you. I understand that. But it's hard for - for everybody.

[Charlie squats back down, looking at the pond.]

DON: You know, I-I-I don't know how I got in a situation where I need your help to do my job, but I-I sure as hell have.

[He begins to walk away, but turns back to face him.]

DON: And I wish you would just snap out of your-your precious bubble for once!

[He leaves.]

[Cut to: Inside Eppes' house. Charlie examines a picture of two young children, presumable Don and Charlie. Camera pans to the picture hanging above it, a headshot of a beautiful young woman in a veil, holding flowers, presumably Margaret Eppes.
lan looks over at Charlie, and Charlie walks towards him, sitting down.]

CHARLIE: Dad. Uh, I've been working on a problem. P versus N.P. It can't be solved.

ALAN: I think you knew that when you started.

CHARLIE: I could work on it forever. Constantly pushing forward, still never reaching an end.

ALAN: You know, sometimes you want to think that things don't end. But they do.

CHARLIE (voice wavering): When mom was sick, I couldn't stop working on it.

ALAN: Yeah, I know. I didn't get it... uh, not then. And your brother sure doesn't understand why you spent the last three months of your mother's life working on a math problem. But Charlie, your mother, she understood why. Because she knew how your mind worked.

[A shot of the woman in the picture.]

[Cut to: Malcolm Stapleton's workplace.]

MANAGER: Malcolm was a top-level programmer. He worked in our division that handles tracking software.

DON: Tracking what?

MANAGER: Financial transactions. Mostly used by banks for data processing.

DAVID: What were the circumstances of him leaving the company?

MANAGER: He was on vacation, called to say he was quitting. He had a new job.

DON: All right, thanks. We'll talk to you soon.

MANAGER: Welcome.

[They leave.]

[Cut to: Front of building.]

DON: All right, so S-Stapleton had high-level access to bank software. He's tortured, he's murdered, and his identity is stolen by a guy who's a member of a bank robbery crew, right?

DAVID: That doesn't seem like a coincidence. And consider how careful they were to make it seem like he was still alive.

DON: Right. Cause you figure they're gonna want to avoid a murder investigation so no one knows they have access to his work.

DAVID: Maybe they're usin' the software to track when banks have large amounts of cash on hand.

DON: Yeah, but the takes are varied, you know? I mean, you got a couple hundred thousand dollars in one, and-and then a hundred dollars in the next.

[Cut to: FBI office. David enters with a man in a military uniform.]

DAVID: Don, Captain Joe MacNevish, Delta Forces.

[Don stands, shaking MacNevish's hand.]

DON: How are you, sir?

DAVID: Our John Doe's fingerprints turned up a match with the army.

MACNEVISH: Former Delta Force member, Master Sergeant John Anthony Galbraith. Galbraith received an honorable discharge four years ago.

DAVID: That's the guy I shot.

MACNEVISH: One of his associates was a Robert Gordon Skidmore. I'm sure the bureau has a record on him.

[Cut to: Later, FBI office. Don approaches David's workstation, a coffee in hand.]

DAVID: Robert Skidmore, convicted of robbing a cash shipment coming into an army base.

[David hands Don a paper with a photo paperclipped to it.]

DON: Yeah, that's the guy who took my gun.

DAVID: He was partners with the guy I shot, Galbraith.

DON: All right, well, we got two names. Let's start building a crew chart.

DAVID: All right.

[Don seats himself at his desk and looks at the photo one more time.]

[Cut to: A shot of Minesweeper playing on a computer screen. Another shot reveals Charlie seated in the garage, playing Minesweeper on his laptop. Larry enters.]

LARRY: Well, I was, uh, heartened to hear that you've shifted your focus off P versus N.P. But tell me, what is it that I can help you with?

CHARLIE: I failed. I failed to notice something significant. These robberies display certain highly eccentric characteristics.

LARRY: Okay. How so?

CHARLIE: Many were conducted in under two minutes. But, in many cases, the perpetrators remained on the premises far longer, despite having the money. Why would they wait around?

LARRY: I don't know. I mean, leaving quickly would seem to be the essential strategy when fleeing a felony.

CHARLIE: Now, you see this game, Larry?

[He turns his computer to face him.]

CHARLIE: You've got to clear mines without blowing any up.

[Footage of Minesweeper plays, corresponding with Charlie explanation.]

VO: CHARLIE: Each time you've cleared as square, a numerical value is revealed. That number tells you exactly how many squares containing mines are directly adjacent to that square. This allows you to predict where the next mine will be located. And then, the more boxes revealed, the more accurately one can predict the location of the mines.

[End footage.]

CHARLIE: The pattern used in these bank robberies is similar to this type of problem-solving pattern. These robbers have used the banks they've been robbing to tell them which ones to rob next.

LARRY: To what end would criminals be playing Minesweeper with banks?

CHARLIE: I don't know.

[Charlie clicks randomly on the game, unearthing a mine.]

[Cut to: FBI office. Charlie comes through the security gate, walking down the hall. From the layout room, David spots him, then Terry. Charlie stands in the doorway.]

DON (on phone): Right. No, I don't think that's smart. Right. Well-


DON: Yeah?

[Terry looks over at the doorway and Don follows her gaze, spotting Charlie.]

DON (into phone): I'll call you right back. No, I will.

[He hangs up.]

DON: Hey, Charlie.

CHARLIE: I have some findings for you. I'm sorry I couldn't get to this sooner.

DON: No, now's good. Come on in.

[Charlie complies.]

DON: What did you do? Did you rework the equation?

CHARLIE: No. I think you need to be looking at a whole 'nother line of investigation.

DON: Like what?

CHARLIE: What's inside a bank that's more valuable than money?

TERRY: Information? Financial data?

CHARLIE: Exactly. This case... it isn't about robbing banks.

[Fade out on a Minesweeper game.]

[Fade in: Security footage of the robbers.]

VO: CHARLIE: Everything they did made it seem like a typical bank robbery. But, while our Charm School Boys were at the teller's window creating a diversion, they must've had a third man accessing the bank's computers. The question is: Why?

[Close up on one of the robbers, smiling slightly as he looks directly into the security camera. End footage.]

[Cut to: Lab. Don, Charlie, David and Terry are seated at a computer with three lab workers, the female on the computer, one man seated beside her and one standing behind them.]

DON: We're sure this is the only machine they messed with?

MAN: As far as we know.

DAVID: Why risk robberies? Why not just hack into the bank's computer?

WOMAN: Oh, from an outside source, it's almost impossible. These databases are guarded with intense firewalls.

TERRY: Besides, by actually robbing the banks, they're able to gain any capital they might need in the meantime.

CHARLIE: More important, the data seems to be location-specific. So when they're accessing data at one bank, it leads them to data at other banks.

[The man spots something on the computer.]

MAN 2: Whoa, here you go.

WOMAN: It's the 'Y'D.S. software.

WOMAN: The program was accessed using Stapleton's pass code on the day of the robbery.

CHARLIE (peering at screen): Dollar amounts?

MAN 2: Believe so.

CHARLIE: Bank routing numbers?

MAN 2: That's what they are.

TERRY: The routing numbers are all the same. The cash in this list is all going to the same bank.

DON: Which bank?

CHARLIE: That's a special Federal Reserve routing number for the federal reserve bank of San Francisco. Specifically, the Los Angeles branch.

[The technicians all look at him, shocked.]

DON: He helps us on financial cases all the time.

CHARLIE: And I tend to remember numbers.

[Cut to: FBI office.]

DON: So these heists are diversions, they're distractions.

TERRY: That's why Stapleton was tortured, for his confidential pass codes.

[David, nearby, hangs up a phone and stands excitedly.]

DAVID: The exact same computer program was accessed at all the banks hit by Skidmore's crew.

DON: So, how does this factor into the Federal Reserve?

DAVID: Well, the program tracks cash being removed from circulation. Old currencies, either worn or ripped. Now, this retired cash is taken out of circulation at local banks. Every few months it's taken to the Federal Reserve Bank. Then to a secret treasury location where it's destroyed.

CHARLIE: And that retired cash data is collated by the 'Y' D.S. software which allows the bank robbers to locate other banks with the same software.

DON: So once they have enough data, they get a fix on the shipment from the Federal Reserve Bank to the treasury.

DAVID: Each shipment is maybe a hundred million dollars in untraceable cash.

[The phone rings, and Don answers.]

DON: Eppes... Right... Right, I got it.

[He hangs up.]

DON: That was the Federal Reserve Bank in Los Angeles. They got a shipment of retired currency going to the treasury in six hours, okay? I wanna know what the security is, what the route is, what the procedure is, right? Let's go.

[David leaves, Don picks up the phone and begins dialing.]

[Cut to: The FBI team is preparing in what appears to be a back alley. Charlie approaches Don.]

DON: Hey.

CHARLIE: Just one thing. Heisenberg and his Uncertainty Principle.

DON: Right.

[He twists to the side.]

DON: Do me a favor, tie this?

[Charlie complies, continuing their conversation.]

CHARLIE: Remember I told you how the act of observation will ultimately affect that which is being observed?

DON: Yes, you did.

CHARLIE: These guys know you've studied them. They know you're tryin' to outthink them.

[Don begins to walk past Charlie, resting his hands on his brother's arms for a moment as he passes.]

DON: Charlie, it's all right.

[He pats Charlie on the shoulder as he walks away.]

DON: ME and Heisenberg, we're all over this.

[Charlie turns away, looking at David who gives him a reassuring smile.]

[Cut to: Federal Reserve Bank. Money is being passed in bags from man to man, being placed in a large truck. One of the security personnel is standing, armed, guarding the others as they load the vehicle. Inside the truck is Don, who places the bags on shelves as they're slid to him.]

[Cut to: LA highway. A Federal Reserve vehicle is driving down the road.]

[Cut to: Inside truck. Don loads his gun.]

[Cut to: Highway. The Federal Reserve vehicle, a large '018' on the top, is being trailed closely by a car as one is close in front of it as well.]

[Cut to: Map of LA. A red dot, signifying the vehicle and labeled 'UNIT 01' is moving across it. Pan downward, and we see a second red dot, this one labeled 'UNIT 02' moving in a separate direction.]

[Cut to: Vehicle driving down a deserted street. Inside the car, David is driving. He checks his watch.]

DAVID: We'll be at Ontario Airport in about twenty minutes.

[Terry is seated in the passenger seat and looks behind her, past the agent in the back seat to the very rear of the SUV where many blue money bags are situated.]

TERRY: Almost there.

[They continue to drive. Suddenly, a large white semi-truck swerves in front of their vehicle. David slams on the brakes, swerving as well. He looks behind him to see a large black pickup pull up.]

TERRY (into radio): Unit 1, Unit 2, code red. (pause) Unit 1, Unit 2, come in.

[Cut to: Don, inside Federal Reserve vehicle. All that is heard is radio static.]

DON: All right, Unit 2 to Unit 1, come in.

[More radio static. Don looks down at his radio.]

DON: Unit 2 to Unit 1.

[More static.]

[Cut to: Terry and David.]

TERRY (into radio): Unit 1, Unit 2, code red.

[David pulls right, past the large white semi-truck. The black pickup follows.]

TERRY: Unit 1 to Unit 2, come in.

[The road begins sloping downward, into a tunnel.]

DAVID: They're jammin' our radios.

[Terry looks behind them at the pickup.]

[Cut to: Front of vehicle. Another pickup is approaching the FBI SUV. David slams on the brakes, sandwiching their vehicle between the trucks.]

[Cut to: Don.]

DON: I'm not gettin' any response.

AGENT: What do we do?

[Don hesitates for a moment.]

DON: We'll stick with the plan.

[Cut to: David and Terry, still inside the SUV.]


[They both exit and point their guns at the first gunman, Skidmore, who exited the pickup facing theirs. He cocks his gun, pointing it at them. The men from the rear pickup exit as well, and Terry spins around to point her gun at them. Then she swivels back forward.]

SKIDMORE: You wanna live? Drop your guns.

[David looks behind him at the man with a gun pointed towards him. He looks back towards the Skidmore, but doesn't lower his weapon. Terry is in the same position as well. She looks over at David and nods. They both set down their guns and put their hands in the air. One of the gunmen opens the back of the SUV and removes two of the moneybags. The Skidmore rips open the side of one of the bags with a knife, only to reveal a bag full of blank white paper. He rips the bag open further and pulls out a handful, throwing it to the ground angrily. He turns to them.]

SKIDMORE: Where's the money?

TERRY: In the bank.

[David smirks.]

DON (OS): Drop your weapons! Get on the ground!

[From behind, a group of FBI agents comes running down towards the vehicles. They all point their weapons at Skidmore. He looks towards the pickup facing the agents. A man with a large gun stands, apparently in the bed of the truck, weapon pointed at the agents.

[David looks shocked.]

GUNMAN: Back off!

[Terry, a stunned look on her face, raises her hands in the air once more and steps backwards. David does the same. The Skidmore smirks, laughing slightly as he stands. He looks back and smiles before running away from the group. David looks over at Terry, who nods.]

DAVID (into radio): Bridge team, green light.

[A man from above fires a shot at gunman in the truck, hitting him square in the forehead and knocking him backwards into the truck bed. Terry and David quickly pick up their guns, pointing them at the enemy crew.]

TERRY: Drop your weapon!

DAVID: Get your ass down!

TERRY: Get on the ground! Get down on the ground!

[One gunman kneels. The man from above points his gun at the other enemy gunman, who places his weapon on the ground.]

TERRY: Get your hands on your head!

[The man complies.]

TERRY: Don't move!

[Cut to: Street. Skidmore unscrews a plank from a metal fence, squeezing through the gap. He peels off his grey jacket, tossing it aside and picking up a blue one and pulling it on. He rounds a corner and climbs into a parked car. Just as he begins to start it, Don comes around from behind, more men following. Skidmore spots them in the side mirror. They all point their weapons at him.]

DON: FBI, do not move! Do not move! Get that other hand on the wheel right now! Get it up! Do it!

[Finally the Skidmore's right hand comes to rest on the steering wheel. Satisfied, Don reaches in and pulls his gun from him.]

DON: This is mine.

[He steps back.]

DON: Get out of the car. Get out of the car!

[Hands raised, Skidmore opens the door.]

DON: Get down on your face!

[He lays stomach-down on the pavement.]

DON: Billy, cuff him.

[We hear one of the agents handcuffing Skidmore as Don looks over his gun. Don shakes his head.]

[Cut to: Eppes' house. Charlie exits the kitchen with a bowl.]

CHARLIE: Here you go, pop. I got it. Now you got it.

[He set the bowl down on the table in front of Alan.]

ALAN: Thank you. Mmm-hmm.


[Charlie places the spoon he was carrying beside the bowl.]

[The front door opens, and Don steps in.]

DON: Hello?

ALAN: Donny.

[Charlie nods in the direction of his brother as Alan gets out of his chair to go greet him.]

ALAN: Wow, it's good to see you.

DON: Oh, you guys ate. I'm starving.

ALAN: No, there's plenty. Come on.

DON: Yeah? What, Terry didn't call, tell you guys what happened?

CHARLIE: Yeah, she said you arrested every suspect. Only one shot fired, huh?

ALAN: One? How'd you pull that off?

DON: We knew roughly where they'd try to hit the next shipment and I knew they'd have an escape plan.

ALAN: That's very clever.

DON: I guess I was inspired by a Mr. Heisenberg just like Charlie here suggested.

[Charlie brings in another bowl of soup as Don enters the kitchen.]

ALAN: Heisenberg? What do you mean, the physicist?

DON: Yeah.


[Charlie sits down across from his father.]

ALAN: Your brother goes into a dangerous confrontation with heavily armed felons and you prepare him with a lecture on the movement of subatomic particles?


[Alan leans back and nods.]

CHARLIE: It worked, didn't it?

[Don comes back in and sits down.]

ALAN: Yes. I guess it did.

[He looks at them both.]

ALAN: I'm telling you, if your mother could see you two guys now, she would be so happy.

[Don looks over at Charlie.]

DON: How you doing with your P versus P thing?


DON: Sorry.

CHARLIE: I'm not pursuing it anymore.

DON: No?

CHARLIE: I've got plenty of problems to work on. Ones that I think I can actually solve.

[Don nods.]

DON: Glad to hear it.

[They clink their drinks together, then with their father's glass as well. Everyone takes a drink and sets their glass down as the camera pulls away.]

DON: What, no mustard?

ALAN: I knew you'd ask.

[He points to Charlie.]

ALAN: He forgot.

DON (to Charlie): What's up? What's up?

[Fade to black.]



Gibby Brand (Dr. Michael Sabello) J. Paul Boehmer (FBI Agent Team Leader) Catherine O'Connor (Woman) Ajay Mehta (ADS Manager) Amanda Carlin (Forensic Technician) Sam Wellington (Bank Manager) David Carrera (Grim Man) Alan Davidson (Robert Skidmore) Robinne Lee (Agent Larkin) Andrew Caple-Shaw (Agent McKnight) Ken Meseroll (Captain Joe MacNevish)


Matthew Yang King (FBI Agent #2) Susan Beaubian (FBI Agent #1)


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.