Épisode Sans limite S02E08 - Numb3rs Saison 2

208 - SANS LIMITE

 

 

En ville.

 

         Colby et des agents en civil se promènent dans les rues de la ville près de chez un commerçant. David est un peu plus loin avec d'autres agents alors que Don est dans un fourgon en surveillance près d'eux.

         Pendant ce temps au bureau du FBI, Charlie et Megan visionnent sur l'ordinateur l'intervention des agents tout en discutant. C'est alors qu'ils sont attirés par les écrans lorsqu'ils entendent Don.

         En effet, une voiture passe et une femme sort pour aller chez le commerçant. Colby n'a pas le temps de l'en empêcher et est repéré par l'escroc qu'ils tentent d'arrêter. Celui-ci accueille la cliente et passe en même temps un coup de fil.

         Megan suit l'appel et écoute la communication. Elle en fait par à Don lui disant que le labo où est caché la drogue n'est pas ici mais ailleurs. Elle obtient carte blanche et devant l'insistance de Charlie, elle l'emmène avec elle en lui faisant promettre de ne pas bouger de la voiture.

         De l'autre côté, Don craint une prise d'otage avec la cliente et se lance dans le magasin en se faisant passer son pour mari, il la protège avec que ses collègues entrent en hurlant FBI et tirant sur l'homme mais à l'arrière de la boutique se trouve un second homme qui hurle le prénom du premier. Les agents l'arrêtent.

         A un autre endroit, Megan attend l'arrivé des agents avec Charlie. Lorsqu'ils arrivent, elle sort de la voiture et donne l'assaut. Elle voit un homme au loin. Elle voit alors un dispositif pour faire exploser la maison mais elle n'a pas le temps de prévenir l'agent que trop tard, il enfonce la porte et la maison explose. Megan et un autre agent sont allongés plus loin, assommés par la violence du souffle.

 

Générique de début.

 

En ville.

 

         Don et ses collègues arrivent sur les lieux. Don discute avec Charlie de ce qui s'est passé mais dit qu'il n'a pas vu d'homme à l'intérieur lui mais que ça ne veut pas dire qu'il n'y en avait pas. Don va ensuite voir Megan pour prendre de ses nouvelles. La jeune femme est abattue mais souhaite tout de même savoir ce qui s'est passé. Ils entrent alors tous les deux dans la maison en ruine où se trouvent déjà David et Colby. Ils avaient raison, il s'agissait bien de l'entrepôt de trafic de drogue. Il découvre un tunnel et Don pense que l'homme vu par Megan a du s'enfuir par là avant l'explosion.

 

Au bureau du FBI.

 

         Charlie est dans un bureau avec un agent du FBI femme et il tente de décrypter ce qui se trouvait dans la banque de donné d'un ordinateur qui se trouvait dans la maison entrepôt.

         De leur côté, David et Megan interroge le second homme qu'ils ont arrêté dans le magasin. Il s'avère que l'homme qu'ils ont tué était son frère. L'homme a quelques difficultés pour répondre à leurs questions.

         Plus tard, Don discute avec Megan et lui propose de prendre quelques jours de congés comprenant ce qu'elle ressent car il a lui aussi déjà perdu un agent en cours de mission (voir « Le démineur) Mais la jeune femme refuse et préfère mener l'enquête avec ses collègues.

 

Sur le campus.

 

         Charlie et Larry discute de ce qui s'est passé et Larry pense envoyer des fleurs à Megan pour la soutenir mais en anonyme. Charlie ne comprend pas vraiment son geste mais les deux hommes travaillent sur comment décrypter le code qui se trouve dans les données recueillies de l'ordinateur. Alan entre alors pour discuter avec eux et voit la photo de la maison qui a explosé avant les dégâts mais suite à l'algorithme, la photo est décryptée et fait place à une photo de petite fille nue.

         Après quelques temps, Don arrive et demande à son frère de retirer la projection du mur et veut récupérer les recherches de son frère. Le ton monte entre les deux hommes car Don ne veut pas que son frère en sache plus et Charlie veut retrouver cette petite fille. Larry part alors dans son bureau et Alan intervient pour demander à Charlie de laisser faire les agents du FBI. Don prend alors les données et quitte furieux le bureau de son frère. Alan lui demande alors de l'accompagner jusqu'à sa voiture pour discuter.

         Alors qu'Alan et Charlie marchent, le jeune homme lui confie que leur ancienne petite voisine était victime de se genre de chose aussi. Il le sentait et le voyait selon le comportement qu'elle avait lorsqu'elle se trouvait en présence de son père. Charlie s'en veut énormément de ne pas avoir agit à ce moment là mais Alan lui certifie qu'il n'aurait rien pu faire étant donné qu'il était un enfant lui aussi.

 

Au bureau du FBI.

 

         Don fait un compte rendu des recherches de son frère à l'agent qui s'occupe de la pornographie et qui recherche les enfants qui en sont victimes. Ils savent qu'il n'y a pas beaucoup de chance pour qu'ils retrouvent la fillette de la photographie.

         Plus tard, Charlie arrive au FBI pour donner les agrandissements des photos aux agents mais il est coupé par David avant de pouvoir en parler avec Megan. Don arrive et emmène son frère avec lui pour discuter. Charlie lui dit qu'il veut à tout prix retrouver cette petite fille mais Don ne veut pas mais ils sont coupés par l'arrivée de Colby.

         Après un petit moment, Charlie va voir l'agent responsable de retrouver la fillette et ils discutent ensemble des recherches de Charlie lorsque derrière eux, un homme donne la photo de la fillette en certifiant que c'est sa fille et qu'il veut la retrouver. Il a un tatouage sur la main mais personne ne le voit à part l'hôtesse d'accueil.

 

Chez les Eppes.

 

         Don est allé voir son père et ne comprend pas le comportement de Charlie en se moment. Alan lui explique alors que Charlie s'en veut car une de ses camarades de jeu lorsqu'ils étaient petits vivait la même chose et qu'il n'a rien pu faire pour la sauver. Don comprend un peu mieux et est surprit qu'il se soit pas rentré à une heure aussi tardive mais Alan lui dit qu'il doit encore être entrain de travailler sur le campus.

 

Sur le campus.

 

         Charlie et Larry sont installés sur un banc à l'extérieur et observent les étoiles tout en discutant lorsqu'une idée leur vient pour retrouver le lieu où a été prise la photo de la petite fille et l'homme qui a prit la photo.

         Plus tard, Don entre dans la salle des ordinateurs du campus trouvant que c'est bien plus animé la nuit et que le FBI. Il vient alors au nouvel et trouve quelque chose. Don appelle ses collègues pour les avertir et les remercie avant de filer.

         Plus tard, au moment où les deux scientifiques quittent le bureau de Charlie, les deux hommes sont alertés par le fax. Charlie récupère alors une photo et reconnait l'homme grâce au tatouage. Il appelle immédiatement son frère pour lui dire que l'homme s'est présenté au siège du Fbi pour retrouver sa fille.

 

En ville.

 

         Les agents ont l'adresse d'un motel où se trouveraient la mère et l'enfant. Colby et Megan se rendent alors sur les lieux. Ils interrogent le concierge et parviennent à voir la chambre. Elle est vide mais la peluche et les draps de la chambre sont celles de la photo.

 

Au bureau du FBI.

 

         Megan est déçue. Don et Charlie se prennent encore la tête et le ton monte entre les deux hommes jusqu'à ce qu'on leur apprenne que Lamberg a été repéré poursuivant la voiture de sa femme et de sa fille. Megan quitte la pièce.

 

En ville.

 

         David et Megan arrivent au moment où les policiers arrêtent la voiture de la femme. Megan intervient en se dirigeant vers la voiture et sortant la petite fille et rassurant la maman qui leur dit qu'elle a tout fait pour tenter de fuir son ex-mari afin qu'il ne récupère pas la petite fille. David et Megan pensent que maintenant que Lamberg sait que le FBI a sa fille, il va quitter le pays.

 

Au FBI.

 

         Les agents se demandent où peut bien aller Lamberg. Ils font surveiller l'aéroport et les routes mais ne le trouve pas. C'est alors que Charlie intervient en disant qu'il va prendre le train car il adore les voies ferrées. Megan fonce alors que Don tente de la retenir afin qu'elle aille se reposer. Mais elle refuse, elle se reposera lorsqu'ils tiendront Lamberg.

         Plus tard, Robin vient au FBI et leur dit que la petite fille va être placée dans une famille d'accueil. Don et Charlie interviennent et disent que la petite fille serait mieux avec sa maman. Pendant que David interroge la maman, Robin va interroger la petite fille et revient sur sa décision. La petite fille restera avec sa maman.

En ville.

 

         A la gare, Colby et Megan, sous couverture, cherchent Lamberg parmi tous les voyageurs. Ils le retrouvent et l'arrêtent devant toutes les personnes présentes dans la gare.

 

Au bureau du FBI.

 

         Au bureau du FBI, Don annonce à Charlie qu'ils ont retrouvé Lamberg et qu'ils arrivent avec les agents. Il le félicite pour son idée de le rechercher à la gare. Lorsque Lamberg arrive, Don félicite ses agents alors que le malfrat sourit. Charlie est coléreux et décide de suivre l'homme mais s'arrête lorsque son frère l'appelle surprit de sa réaction.

         Megan décide de raccompagner Charlie et c'est au pied du FBI que Charlie lui explique ce qu'il a vécu lorsqu'il était enfant avec cette petite fille qui était son amie. Celle-ci lui dit que ce n'était pas sa faute et qu'il ne pouvait rien faire en tant qu'enfant mais elle lui propose de reprendre le contact avec cette fille pour prendre de ses nouvelles. Après réflexion, Charlie décide de suivre les conseils de Megan. Les deux amis partent alors bras dessus, bras dessous.

 

Générique de fin.

[Cut to: LA street. FBI men are running towards a warehouse. Camera pans left and we see Colby, giving inaudible directions to the men behind him as they approach the building.]

[Cut to: Inside van. We see Don peering out the window.]

[Cut to: Street. David walks down the sidewalk, takes a drink of his coffee, and positions himself slightly concealed behind a wall. He nods towards the van.]

[Cut to: Inside van. Don still keeping a lookout.]

[Cut to: Roof of building. Two men with guns drawn walk across the surface.]

[Cut to: David. Three men approach him and position themselves behind him. One stays peering around the wall, gun ready.]

[Cut to: LA street. We see Colby and various other men in their positions.]

[Cut to: Inside van. Don speaks into his radio.]

DON: All right, position one?

[Cut to: David]

DAVID: Set.

[Cut to: Inside van.]

DON: Position two?

[Cut to: LA street, Colby.]

COLBY: Position two is set, Don.

[Cut to: Inside van.]

DON: All right, we go on my signal everybody. Repeat, on my signal.

VO: CHARLIE: It's really kind of exciting.

[Cut to: FBI office. Megan and Charlie are seated at a computer, Megan listening to her radio and both keeping track of the men's progress.]

MEGAN: Money laundering?

CHARLIE: Monitoring illegal activity using Social Network math.

[We see on the computer screen one of the men on the roof. Don's voice, inaudible, comes from the computer speakers. Back to Megan and Charlie.]

MEGAN: Link Analysis. We use that for the Mob.

CHARLIE: Well, that provides fairly basic connections. But Flock Theory shows how the network moves, how it changes as a whole,

[We see various footage of meth lab work.]

VO: CHARLIE: from the meth lab workers through the distribution chain, and ultimately to the streets. We can determine leaders, followers, speed, and direction of growth.

[We see footage of flying geese.]

VO: CHARLIE: Emergant Self-Organization predicts subtle dynamics of human behavior.

[Cut back to office.]

CHARLIE: It's wild.

MEGAN: That's just what I was gonna say.

CHARLIE: So, have they gone in yet?

MEGAN: Just about to.

[Cut to: Inside van. Don speaks into his radio.]

DON: D.E.A.?

[Cut to: Men on roof. They walk to edge of building and position their guns.]

MAN: DEA, set.

[Cut to: Inside van.]

DON: All right, let's hit it.

[Cut to: LA street. All men prepare to enter warehouse.]

VO: DON: Let's hit it. Execute, execute, execute.

[Men move in towards warehouse.]

[Cut to: Inside van. Don sees a car drive by.]

DON: Hold! Hold! Hold! Hold!

[Cut to: LA street. David lowers his gun.]

VO: DON: We got a civilian. Civilian! Civilian!

COLBY (into radio): Holding, Don.

[Cut to: Lot of warehouse. The silver car, driven by a blonde woman, pulls into an empty space.]

[Cut to: Inside van.]

DON: Colby, grab her.

[Cut to: LA street, Colby.]

COLBY: Okay, got it. [He walks toward the blonde, who is exiting her car.] Ma'am?

[The woman doesn't hear him and walks into the warehouse.]

WOMAN: Hello?

COLBY (calling after her): Ma'am? Excuse me, ma'am?

[Cut to: David, watching intently, sighs.]

[Cut to: Inside warehouse. Colby peers around the corner, watching the woman enter.]

WOMAN: Hello?

[Tiny Rimbelli appears behind counter.]

WOMAN: Ah.

[Tiny walks around the counter.]

TINY: What can I do for you?

WOMAN: I need a stove-top re-chromed. Do you do that?

[Cut to: Inside van.]

DON: Colby, back off.

[Cut to: LA street. We see the back of Colby.]

VO: DON: Just wait til she's out.

[Cut to: Warehouse. Colby backs away from the opening, but not before the Tiny sees him.]

TINY (to woman): Sure. You got the measurements?

[He walks over to the phone and begins dialing.]

WOMAN (digging through her purse): Yeah, in here somewhere...

[Cut to: FBI office, Megan and Charlie still sitting in front of the computer. From the computer speakers, we hear the man dialing.]

MEGAN (into headset): Don, he's making a phone call.

[Cut to: LA street. Colby running away from warehouse.]

[Cut to: Inside warehouse. The man is on the phone.]

TINY: Yeah, it's me... That's right.

[Cut to: Inside van.]

DON: Colby, did he see you?

[Cut to: LA street.]

COLBY: I don't know, Don.

[Cut to: Inside van.]

DON: Megan, trace that call. What's he saying?

[Cut to: FBI office. We hear the man's voice, inaudible, coming from the computer speakers.]

MEGAN (into headset): He's... warning somebody.

[Cut to: Inside van.]

DON: Damn it! I didn't want a hostage situation here!

[Cut to: David.]

[Cut to: Inside van. Don removes his FBI gear, preparing to leave.]

DON (into radio): Colby, as soon as I have her you come in full force. Megan, you get backup and hightail it to whatever address you get on that trace, do you hear me?

[Cut to: FBI office. Megan begins to stand.]

MEGAN (into headset): On it.

[Cut to: David.]

VO: DON: All right, David, you're with me.

[Cut to: Inside van.]

DON: Follow my lead. Let's go.

[He begins to climb out of the van.]

[Cut to: FBI office.]

MEGAN (on phone): This is Agent Reeves. I need an insertion team ASAP going to 5735 East 19th Street. I'll be on location.

[Charlie looks at computer screen with a map display. Megan hangs up the phone.]

CHARLIE: Megan, that address is anomalous to the pattern. You know, that changes everything.

MEGAN: It might be nothing.

CHARLIE: Yeah, but if it is connected, I have to recalculate. It could open up other locations, so I'd like to come.

MEGAN: I don't think so.

CHARLIE: I need to see the area. I need to see how much of it is resedential, see what businesses are around -- there's a wealth of data I can only amass by seeing the environment.

MEGAN: Okay, but you have to stay in the car.

[She leaves as Charlie picks up his laptop to follow her.]

CHARLIE: Locked and loaded.

[Cut to: LA street. Don looks both ways before walking toward the warehouse.]

[Cut to: David. He removes his earpiece and moves to follow Don.]

[Cut to: Warehouse door. Don creeps up to the edge.]

[Cut to: Colby, watching intently.]

[Cut to: Inside warehouse. The Tiny hangs up the phone.]

[Cut to: Warehouse door. David approaches the opposite side of the door.]

WOMAN (OS): I know it's in here somewhere...

[Cut to: Tiny behind the counter, looking impatient. Don approaches woman.]

DON: Hey, sweetheart. Do they have it?

[Tiny reaches below the counter.]

DAVID (OS): Hey!

[Cut to: David, standing near the doorway, gun drawn.]

DAVID: FBI!

[Don pulls the woman to the floor.]

DAVID: Don't do it!

[The Tiny reveals a gun, and David shoots him twice in the chest. As he falls, his gun discharges once into the air.]

[Cut to: Colby and men, moving in.]

[Cut to: Don on the ground with woman as the men rush by.]

DON: We're FBI, you're okay. Don't move. Tommy!

[A man walking by stops and talks to the woman.]

MAN: You alright?

WOMAN: I'm fine.

[Cut to: David, behind the counter, examining the body.]

DAVID: Got it.

[He hands off the deceased man's gun.]

ARTHUR RIMBELLI (OS): Tiny!

[David checks for a pulse.]

[Cut to: Arthur, being put into handcuffs.]

ARTHUR: Tiny! Tiny!

COLBY (approaching Arthur): Tiny's not able to hear you right now.

ARTHUR: Is he dead? What, you kill him?

DON (to officer cuffing Arthur): We secure?

[Officer nods.]

DON: Any sign of the lab?

COLBY: There's nothing, huh?

DON: We got precursor chemicals. There's enough to make two, three hundred pounds of meth. How could the lab not be here?

COLBY (lifting cuffed Arthur to his feet): Where is it?

DON: Careful! Smell those fumes? One spark's enough to blow the roof off this place and us in it.

[Colby and the officer begin leading the man away.]

DON: Just be careful.

[Cut to: Shot through binoculars. We vaguely see a man packing a suitcase.]

CHARLIE (OS): This really doesn't make any sense.

[Cut to: Megan and Charlie in a car, watching the man's house. Megan has the binoculars.]

MEGAN: Oh, it does to me. We traced the call to this location. This guy's getting ready to run.

CHARLIE: Unless we're in an entirely different model.

[A black SUV pulls up in front of the house. Megan exits the vehicle.]

MEGAN: Here we go.

[The FBI men approache her.]

AGENT GALLAGHER: Hey Reeves, what have you got?

MEGAN: I have one guy inside. It looks like he's getting ready to run.

[She opens her trunk and she and Romero remove guns.]

GALLAGHER: How do you want to play it?

MEGAN: I think it's best if we take him inside.

GALLAGHER: Two teams in front, I'll send my other two men to cover the back.

MEGAN: Let's do it.

[They begin to walk toward the house.]

[Cut to: Charlie in the car, watching.]

[Cut to: The FBI team approaches the building, guns drawn.]

[Cut to: Charlie in the car, as he sits up in his seat, watching more intently.]

[Cut to: Megan by the garage, counting silently with her fingers.]

MEGAN (mouthing silently): One...

[Cut to: Men in position by the front door.]

[Cut to: Megan looking in the window, she raises a second finger. Camera pans, and we see a wire.]

[Cut to: Gallagher, pulling back the battering ram.]

[Cut to: Megan.]

MEGAN: Wait!

[Cut to: View of house from street as it explodes, sending flames high into the air.]

[Cut to: Charlie in the car, shaken by the force of the explosion, shocked.]

[Cut to: Street view of house as the explosion spreads.]

[Cut to: Car. Charlie immediately exits the vehicle.]

[Cut to: Megan and an agent on the ground, floored by the explosion. Megan begins to sit up, helped by the agent.]

[Cut to: Car. Charlie is still getting out.]

[Cut to: Street view of house. Flames lessen.]

[TITLE CREDITS]

[Fade in: We see the charred body of Gallagher on an EMT gurney. Starting at the feet, camera pans upward past the head and we see Megan looking down on the body.]

[Cut to: Front view of collapsed house. Colby exits, passing Charlie.]

COLBY: This guy was ready for war, Charlie.

[Don exits.]

DON: Where's Megan?

CHARLIE: She's over there. Who was the guy in there?"

DON: So there was a guy? You saw him?

CHARLIE (shaking his head): No. If this was the real lab, then what was the other location?

DON: You know, it's like a... legit business to buy the chemicals and launder the money. But the lab was here. I mean, it was like a superlab. You could make one hundred pounds of the stuff every few days.

[They begin to walk away from the house.]

CHARLIE: That's how many doses?

DON: Well, it's over half a million, at least. Now why didn't it show up on your map? I mean, they had to be moving product in and out of here.

CHARLIE: My - my system wasn't rich enough, you know? That this place is connected is true, but I can't prove it given my axioms. I have to add more information.

DON: So it's possible there could be more labs?

CHARLIE: Sure, it's possible.

DON: All right, just give me a second.

[He and Charlie go seperate ways.]

[Cut to: Megan, fingers pressed to her right ear. Don walks up to her.]

MEGAN: I saw the wiring at the last second. I tried to stop him.

DON: Right. Now look, you can't beat yourself up about this now. You just can't, all right?

MEGAN: Gallagher's dead. I told him to go in there. I had tactical command.

DON: You saw somebody in there?

MEGAN: White guy... Thirties, average build. I couldn't even see his face.

DON: He's not there. There's no human remains in there.

MEGAN: Then he must have been at the center of the explosion and there's just nothing left.

DON: You sure about what you saw?

MEGAN: Absolutely.

DON: All right.

[Megan walks away, Don follows.]

CHARLIE (to passing man): Uh, may I ask you about that computer?

[Various shots of firemen, FBI, and EMT outside of the house.]

[Cut to: Inside house. Don and Megan.]

DON: Wait, wait. Hold - hold on. Put this on.

[He hands her a device.]

MEGAN: What is it?

DON: It monitors meth concentration, you know? When they cook the stuff, the fumes get into the walls, the ceilings... I mean, everything. Even breathing the crap can make pinholes in your brain.

MEGAN: That's just what I need. He was putting the stuff in a duffel bag. I don't know what -- clothes, money. I couldn't see -- and there was a window... and curtains.

DON: You saw him through curtains?

MEGAN: I saw him, Don.

DON: All right.

[David peeks into the room.]

DAVID: Hey, we found something.

[Don and Megan walk over to him, and he shows them the area with a flashlight.]

DAVID: Yeah. There's a tunnel. Vents through the lab upstairs feed right down through there. That's why no one in the neighborhood could smell it.

DON: Oh, yeah.

[He examines the tunnel.]

DON: All right. This is how he got out.

[Their devices begin to beep.]

DON: Woah. Hey, lets get out of here.

DAVID: All right?

[They begin to leave.]

[Cut to: Woman breaking down the computer Charlie collected from the scene.]

WOMAN: Are we looking for something more specific beyond the guy's name?

CHARLIE: Who he was doing business with. We suspect that there are additional meth labs because of the quality of the chemicals seized at the chrome shop.

WOMAN: All right, first, we'll hook the hard drive up to a new computer.

[She plugs it in.]

WOMAN: Same model it was in before. Now, the heat from the fire may have corrupted some of the data path addresses, but probably not all.

[She begins to work.]

CHARLIE (more to himself than to her): The address wasn't corrupt.

WOMAN: Sorry?

CHARLIE: Nothing. I have a fact that I know is true, but it doesn't fit the scheme that I've worked out for it.

WOMAN: So, the scheme is wrong.

CHARLIE: No, incomplete. I need to expand my data.

[He begins typing.]

WOMAN: It's not booting, so I'll slide the plate off and try to read it with a magnetic head.

[The look on Charlie's face suggests he's come to a realization.]

[We see footage of various white dots being connected by white lines. Fades for a quick moment to the footage of the geese, then back to Charlie.]

CHARLIE: So the man who escaped was the leader of the flock.

WOMAN: The flock?

CHARLIE: He doesn't follow the same rules as the subordinates -- he leads the way, therefore creating greater distance between himself and the others.

[Various symbols begin appearing on the computer screen.]

WOMAN: Oop. Here we go. Lots of garbage.

CHARLIE (pointing to the screen): JPEG.

[Woman types, the computer beeps twice, and a picture begins to appear.]

WOMAN: Some sort of digital photograph. Not too exciting.

CHARLIE: Well, maybe we can use the Pradeep Sen method to see into the windows. He's taken illumination algorithms to the next level, and I can use them to enhance this photograph.

[Close up of the picture, which looks like a normal house.]

[Cut to: Office hallway. Megan and David.]

MEGAN: Well, what about the tunnel?

DAVID: Let out about fifty feet away.

MEGAN: And the house?

DAVID: Rented under an alias.

MEGAN: So we got all the underlings and the kingpin got away?

DAVID: Fire Commissioner confirmed your suspicion. The explosion was set off intentionally.

MEGAN: So we want this guy for murder as well as meth and we don't know anything about him?

[David sighs and shakes his head.]

[They enter the interrogation room. Colby and Arthur Rimbelli are seated at the table. Megan approaches Arthur.]

MEGAN: Mr. Rimbelli.

ARTHUR: Is Tiny dead?

MEGAN: Tiny died trying to warn your boss.

ARTHUR: To hell with you and him.

COLBY: Tiny was his brother.

MEGAN: So your brother's dead, and you and your whole crew are going to Chin and your boss is going to skate?

ARTHUR: Don't try to play me.

MEGAN: I'm not the one who's playing you. I mean, unless you think your boss is gonna be sitting outside to pick you up in ten or fifteen years.

ARTHUR: You offering something?

MEGAN: I want a name.

[Arthur chuckles.]

ARTHUR: If you don't know that... you don't know crap.

MEGAN: What do you want?

ARTHUR: A low-end sentence reccommendation. And me and the boys do our time together.

MEGAN (nodding): What's the name?

ARTHUR: He's got a hundred aliases. But his name is... Lamberg. Derrick Lamberg.

[Megan looks at Colby, who nods and leaves.]

MEGAN: Where's he going?

ARTHUR: He's probably laying by his pool at his place in Mexico. You won't get him.

[Cut to: Hallway. David and Don are speaking inaudibly. Megan passes them.]

DON: Hey. So, Lamberg's not in the system.

DAVID: No social. No driver's license. No credit cards.

MEGAN: So either it's a bad name or he's off the grid.

DON: Yeah. We're waiting on prints and DNA.

MEGAN: He's got a house in Mexico.

DON: Yeah? Well, let's get a description out to the airports. You know? I mean, trains, buses, borders, everything, right?

DAVID: Neighbor's described him same as Megan: mid-thirties, average, Caucasian male.

DON: Well, that's no good. I mean, we've gotta have more than that.

MEGAN: He's on the run. He's gonna need cash.

DAVID: So we find out who owes him money, how he collects, how he makes shipments...

DON: Yeah, these big operations like to play it legit, you know? I mean, delivery services, wire transfers. Straight up's the best cover. So you should check up on any delivery companies that went to that address. You get a hit, you get a warrant, you intercept whatever's being shipped out of there. You hear me?

DAVID (leaving): Got it.

[Don sighs.]

MEGAN: I'll follow up on the computer.

[She moves to leave.]

DON: Megan.

[He follows her.]

MEGAN: I'm alright, Don.

DON: Look, come here. Hey, hold on. Have you ever lost anyone on your command?

MEGAN: No.

DON: Cause I have. About ten months ago, a great agent named Matthew McKnight. And I didn't know how it was gonna hit me, and I don't think you really know how it's gonna hit you. So what I'm thinking is, maybe you should go home. You know, just for a day.

MEGAN: I'm not gonna do that.

DON: You don't have anything to prove around here. You know that, right?

MEGAN: Yeah. So let me do my job.

[She sits down at her computer.]

DON: You sure?

MEGAN: One hundred percent.

DON: All right.

[He leaves, and Megan looks after him.]

[Cut to: Charlie's office. The digital picture of the house is projected onto the wall.]

LARRY: So, did they send her home?

CHARLIE: I told you, Larry. Megan's okay.

LARRY: Yeah, bt this agent was killed, right?

CHARLIE: Yes.

LARRY: Well... She's gonna feel responsible.

CHARLIE: I was there; it was clearly not her fault.

LARRY: But this degree of traumatic experience would disturb even the most stable of Homo sapiens. This is not even to take into account the double X chromosome situation.

CHARLIE: Situation?

LARRY: Yeah. Women have two X chromosomes, men have an X and a so-called Y. I think f you examine it closely, as I have, you'll find that the Y is really just an X with a piece missing.

CHARLIE: Implying what?

LARRY: Well, since I'm missing that very piece, I may not be qualified to answer. But I think it has something to do with, you know, they're just more sensitive.

CHARLIE: Or that they can bear children.

LARRY: Yeah, well, that too, I guess. Do you think it's inappropriate if I were to send her flowers?

[Charlie, engrossed in his work on the photo, doesn't seem to hear him.]

CHARLIE: This is so odd.

LARRY: What?

CHARLIE (typing): This process is introducing more artifacts.

LARRY: Hey Charlie... steganography.

[Alan enters.]

ALAN: Stega-who-graphy?

LARRY: Steganography.

CHARLIE: Hey, dad, what's going on?

[They hug.]

ALAN: Hey, Charlie. I was in the area. I was having a meeting with Rolf Peterson, the engineer for my downtown mall project.

[Larry takes over the computer.]

ALAN: You wanna... You wanna take a look?

LARRY: Oh yeah, always.

[Alan unrolls the plans, and Charlie and Larry look at them.]

ALAN: There you go. What is this steganography?

CHARLIE: It's the classic, you know, picture hidden in a picture thing. Only this is digital steganography, isn't it?

LARRY: Yeah.

CHARLIE: Where one image is embedded in the coding of another image.

LARRY: Yeah, it's very hot right now.

CHARLIE: The Defense Department is encrypting satallite imagery.

ALAN: Oh? How do they do that?

LARRY: I'll show you. Simply take a CD...

[Larry grabs one.]

LARRY: And I look for the nearest sharp object.

[He picks up a miniature sundial from the desk.]

LARRY: That'll do.

[He begins to scratch at the CD with the sundial.]

ALAN: Why are you ruining the CD?

LARRY: Now, if I scratch a record, it would ruin it. But this CD will still play. I've created gaps in its readable data, but...

CHARLIE: The software fills in the gaps, making educated guesses as to what it should be, resulting in complete images from partial data.

LARRY: Precisely. And since we suspect that there is an image hidden in this picture...

CHARLIE: We ry to tell the computer to look at it in another way.

[He begins typing.]

CHARLIE: I'm gonna try adjusting the pixels by one more negative power.

LARRY (gesturing): Okay, and you can see the edges are deteriorating.

ALAN: Yeah. So who's the criminal?

CHARLIE: It's some methamphetamine dealer.

[He types a bit more.]

CHARLIE: Let's see what this does.

[The photo of the house morphs into a photo of a nude child, her back to the camera.]

LARRY: Oh, God.

[The camera zooms in on the girl's face.]

[Fade out.]

[Fade in: Camera moves across photo, starting on the stuffed lion and moving to the girl's face.]

DON: Turn it off.

[Charlie turns off the projector.]

CHARLIE: I'll take the girl's image out of the picture and we can study it for details.

DON: Right, the lab can deal with that. Can you tell me if this was sent over the internet?

LARRY: Partial data, there's no way to know.

CHARLIE: The pornographic image was encrypted in a photograph of the house that exploded.

DON: So the photographs could've been taken by the same camera?

CHARLIE: Maybe.

LARRY: Not... necessarily.

DON: Which is it?

CHARLIE: We really can't be sure.

DON: All right, well, look. We know the guy was into child porn. But the photograph could've been taken, like, even five years ago.

CHARLIE: You know what? I'll make you a copy.

DON: That's alright, just give it to me: our guys'll know what to do.

CHARLIE: Except they didn't find this picture, did they?

DON: Well, you can explain it to them.

CHARLIE: Well, you know what, I'll keep working on it.

DON: Come on, it could be one of hundreds of photographs on the computer.

CHARLIE: Or this child could need our help right now.

ALAN: Charlie... Why don't you let his people pursue it?

CHARLIE: Dad, please.

DON: Yeah, why don't you let our people pursue it, all right? We have an entire unit dedicated to crimes against children.

CHARLIE: So, I mean-

DON: Wait, hold on.

[Alan stands.]

DON: Charlie, look, you gotta understand the reality of crimes like this.

CHARLIE (yelling and pointing behind him): Excuse me, I understand the reality.

LARRY: I'm gonna go back to, uh...

ALAN: Your office.

LARRY: Yeah.

[Larry leaves.]

DON (yelling): What the hell are you doing? I need more than the photograph. We've gotta stop a guy from disappearing into Mexico! An agent was killed!

CHARLIE: He set off the explosion?

DON (still angrily): Yes.

[Charlie reluctantly hands over the jump drive.]

DON (exasperated): Thank you!

[Don leaves. Charlie sits and puts his hand to his forehead.]

ALAN: Charlie, walk me to my car.

CHARLIE: I need to get back to my work.

ALAN: You need to clear your head. Walk me to my car.

[Alan leaves, and Charlie follows.]

[Cut to: Front of college. Charlie and Alan exit the building.]

CHARLIE: There are thousands of kids in trouble -- I know that. But when one pops up in your face, sure it seems reasonable to at least attempt to...

ALAN: I know, I know, Charlie. It's terribly disturbing. I understand that.

CHARLIE: Correct, so the best thing I can do is find useful details to help Don catch this guy and perhaps locate this little girl.

ALAN: Charlie, this is not a career you've chosen. You don't have to do this, you know.

CHARLIE: What are you saying? That I should just walk away, right? Dad, what kind of person would do that? You wouldn't do that.

ALAN: This is not about me, Charlie.

CHARLIE: The girl is in the picture reminds me... of a girl I knew. Jessica Cartman.

ALAN: Jessica Cartman? You mean the kid who used to live two blocks away from us?

CHARLIE: Yeah.

ALAN: Well, what happened to her?

CHARLIE: I don't know. It just always felt like something was up with her.

ALAN: But Charlie, you were only a kid at the time.

CHARLIE: I'm not anymore. I've gotta go.

[He leaves.]

[Cut to: FBI Office.]

DON: We know it was encrypted, we just can't tell if it was sent over the internet.

AGENT ROMERO: Yeah, well this will cross-reference her face with our database of over a million images of exploited kids.

DON: Did you say a million?

ROMERO: Yeah, and growing. See, this program matches facial characeristics similiar to that of a DNA test.

DON: Right.

["NO MATCH FOUND" displays on computer screen.]

ROMERO: Damn, that's too bad. She's not a known victim.

DON: So, then, what will you do now? I mean, what happens?

ROMERO: Well, the photo gets analyzed. We've had some luck matching beds in the backround, finding repeat locations that way.

DON: How long, you think?

ROMERO: It's gonna be a few days, man. We got backlogs. But I'll try to run it through as quick as I can.

DON: Yeah, I appreciate it. Do what you can, all right?

ROMERO: No problem.

[Don leaves.]

[Close up of girl's photo on computer screen.]

[Cut to Megan's office.]

MEGAN: I want to know if you have property leased to Derrick Lamberg in Sonora, Mexico.

[Charlie approaches her.]

MEGAN: He's a fugitive. Yes, I'll hold.

[Charlie is about to speak. David enters.]

DAVID: Excuse me, Charlie. Hold on a second, man. We just got a hit on a delivery service. They picked up nine packages at the meth house this morning. I'll let you know if it's anything.

MEGAN: That's great.

[David leaves.]

CHARLIE: Hi.

MEGAN: What you got?

CHARLIE: I was able to detect the reflection of what I think is a man in the glass of the window.

MEGAN: How much can you see?

CHARLIE: Only an outline, but there's definately a presence.

MEGAN: Of course there's a presence, Charlie, somebody took the picture. What else do you have?

CHARLIE: I need to work with the Crimes Against Children office -- show them what I have. Enlargements of carpet, bed, drapes...

[He flips through the photos.]

MEGAN: Charlie, I need something concrete. This guy's gonna skip to Mexico and game over.

CHARLIE: Yes, I understand. You feel because of Agent Gallagher's death-

MEGAN: This isn't about how I feel! We need to get this guy, Charlie! (into phone) Yes, I'm here.

[Don enters.]

DON: Anything?

CHARLIE: Yes, I have enlargements from the photograph that-

MEGAN: The chemicals from the bust were manufactered in Senora, Mexico. I'm checking to see if he's leasing anything there and I gave his description to the Border Patrol...

DON: I know, average white guy -- it could be anyone, right? Charlie, there's nothing else you can do?

CHARLIE: As I stated, I have enlargements from the photograph. I'm going to give them to the Crimes Against Children squad. Okay?

DON: I already handed those off. Give me -- come here. Give me these. What's going on? Come on. Look, we have a system for finding these kids. Just let the system do its job, all right?

[Don and Charlie enter the break room. Don begins preparing a cup of coffee.]

CHARLIE: Your system's incomplete.

DON: Charlie, give me a break. It's the best in the world. What are you talking about?

CHARLIE: Complex systems require redundancy: computers, the military, human brains, but not the FBI? Why don't you want me to find this child?

DON: What are you talking about? That is so unfair. I want to find the kid as much as you do, and I want to find the perpetrator. Why don't you tell me what is bugging you so much about this photograph?

CHARLIE: This child has shown up in front of us for a reason. She may lead us to Lamberg. Even if she doesn't, Don, I need to take action to find this little girl.

DON: That's what I'm doing, I'm taking action.

[They begin to leave.]

CHARLIE: No, you're not.

DON: Yes, I am.

[Colby approaches.]

COLBY: You're right about that delivery service. We grabbed twenty pounds of meth and got a hit on a wire transfer for Lamberg.

DON: Great, let's get on that.

[Don walks away. Charlie looks after him for a moment before walking in the opposite direction. He passes a man at a counter.]

MAN: I'm really concerned. I'd like to file a report.

[Charlie approaches Romero.]

CHARLIE: Agent Romero?

ROMERO: Yeah?

CHARLIE: I'm Charles Eppes, Don Eppes' brother. I'm working on a photograph that I believe he also shared with you.

ROMERO: Charles, yeah. Don brought something in here earlier.

CHARLIE: I have some enhanced imagery.

[He pulls out a CD. Romero takes it.]

ROMERO: I'll put it in the database.

CHARLIE: What are the chances we can find this little girl?

[Pause.]

ROMERO: Let's go in here.

[Shot of the man at the counter.]

MAN: My wife's an addict. I'm scared she might be trading the little girl for drugs.

[Charlie walks behind him and back down the hallway.]

WOMAN (to man): Well, we'll do the best we can...

[Shot of the photo the man is holding. It's the same girl, smiling, next to the same stuffed lion.]

[Fade out.]

[Fade in: The Eppes house. Alan is seated int he living room. We hear the front door close.]

ALAN: Charlie?

[Don enters.]

DON: No. Hey, dad. It's me, Don.

ALAN: Oh.

DON: Sorry to wake you. Where is he?

ALAN: Oh, I think he's athis office working on your case.

DON: Good. I mean, we've hit nothing but dead ends and he doesn't have his head in the game.

ALAN (checking his watch): You know it's one in the morning?

DON: Yeah, so what? I'm working.

ALAN: Listen, hard ass.

[Don begins to head towards the kitchen.]

ALAN: I know he's got a job that he's doing. I know all about that...

[Alan follows him.]

ALAN: It's just that this case is messing with his head, you know? It's reminding him of something he's feeling guilty about.

[Don reenters with a bottle of water.]

DON: Why? What, did he do something I don't know about?

ALAN: No... It's not what he did, it's what he didn't do. He saw this girl, one time, and she was in trouble and he, um... he didn't save her. I mean, how the hell could he? He was only a child at the time. But, you know, being Charlie, he's got a big heart and he... feels responsible.

[Don seems to understand.]

ALAN: And now, to atone, he's banging his head against a door that'll never open. You're never gonna find this girl, are you?

DON: Well, dad, you know. I mean, the odds are against it. But he's gotta learn, you know? Everyone gets emotional. You still gotta do your job.

ALAN: Listen, Don. This is a life that you've chose for yourself. I'd rather you not choose it for Charlie.

DON: What'd you say, he's at the school?

ALAN: I couldn't get him to come home.

DON: Dad, let me explain something. This guy killed an agent, okay? We missed catching him by mnutes. He's on the run, we don't have a lead. So, I'm sorry. But I have to push Charlie. That's the way it is.

ALAN: You don't have to push him. He's doing it. I've gotta go to bed. I've got an early meeting.

[He leaves.]

DON: Good night.

[Cut to: Still night, college campus. Charlie and Larry are seated on a bench, looking up at the stars.]

LARRY: Rigel is particularly bright tonight.

CHARLIE: Mm. If he's using advanced coding to hide his child pornography, then he's a...

LARRY: Yeah. A) He's an intelligent pedophile. B) He's paranoid. C) He's cautious. D) He's... I don't know. What is D?

CHARLIE: D is that he'll apply these techniques to other information he wants to conceal.

LARRY: Yeah. Yeah, yeah, yeah. I see what you mean. So one might assume a ratio of most dangerous information hidden with most advance coding and...

CHARLIE: The entire hard drive's encrypted.

LARRY: Or partitioned.

CHARLIE: A phantom hard drive.

[He gets up and runs toward the school. Larry remains seated. Charlie comes back.]

CHARLIE: Larry, come on.

LARRY: Yeah, yeah.

[They begin to rush towards the building.]

CHARLIE: We gotta get to the computer lab as fast as we can.

LARRY: I know a short cut through metallurgy.

[Cut to: Computer lab. Charlie and Larry are working on side-by-side computers.]

LARRY: There's only two gig of storage here.

CHARLIE: Yeah, I tried the FDISK command. It's rebooting, I'm guessing.

LARRY: Yeah. A second partition, huh?

CHARLIE: There's gotta be an executable file to access the hidded operating system.

[Don enters.]

DON: What's the deal? There's more people here in the middle of the night then at ten in the morning. Looks like the FBI.

LARRY: Yeah, less distracting at night. Deeper thinking.

DON: Yeah? What are you guys doing?

LARRY: Trying to follow the logic of an intelligent, paranoid, pedophile.

CHARLIE: Lamberg created a phantom hard drive.

DON: What do you mean? It's there, but you can't find it?

CHARLIE: Exactly. It's a mathematical illusion, like the magician's disappearing trick.

[We see footage of a magician making his assistant 'disappear' in a magic act.]

VO: CHARLIE: The computer's hard drive looks perfectly normal at first glance, just like the magician's box. But there's a hidden place -- an unseen, secret compartment. Lamberg did the same thing with his computer: he hid his data in a seperate, secret place.

[End footage.]

CHARLIE: It's a trick, you know? It's a very clever computer partition trick.

DON: So what do you think? Can you find it?

LARRY: I think... I just did.

CHARLIE: Okay, here we go. Hmm, just as we thought, huh? All the data's been encrypted.

DON: Come on, Charlie, you with all your NSA experience? You can't break that?

LARRY: Well, this descrete logarithm provides quite an obstacle.

CHARLIE: You know, Larry, that would really only be a problem if Lamberg hadn't based his cryptosystem on a super-singular curve.

DON: You guys think he has, what? Like a backround in math or intelligence or something?

LARRY: No, it's downloadable from the Net. High school kids are encrypting files from their parent's prying eyes even as we speak.

CHARLIE: I got it. Wow, okay. Some of the data has been damaged in the explosion, but there's fragments we can read.

LARRY: Our despicable felon is a proud member of...

[He points.]

CHARLIE (reading): The Long Beach Gun Club.

DON: Oh, that's a good lead. That's great. Hey, call me if you get anything else on him.

CHARLIE: Yeah, we'll keep looking. Loop me in to what, you know, might help my search.

DON (into phone): Hey, Colby, it's me. Yeah, Long Beach Gun Club, okay? Apparently Lamberg was a member. So wake up whoever you gotta wake up, get his file, his photo -- anything you can, all right?

[He hangs up.]

DON: All right. Guys, thanks.

[He leaves.]

[Cut to: Outside view of college.]

VO: LARRY: Well, I opted for sending Megan seven, white, aromatic tuberoses...

[Cut to: Office.]

LARRY: ...anonymously.

CHARLIE: Well, what good is it if she doesn't know it's you?

LARRY: Well, I'm a physicist, Charles. I believe she'll still feel the cloud of virtual possibilities surrounding her even if she's not yet identified the particle.

[They leave the office and enter the hallway.]

CHARLIE: Are you talking about 'vibes'?

LARRY: Yeah, well, somewhat crudely put, but...

[Ringing.]

CHARLIE: Oh, wait... Yeah, that's my fax machine.

[They reenter the office.]

CHARLIE: I asked Don to send me Lamberg's photo.

LARRY: Curiousity - not great for cats, but very good for scientists.

[Charlie looks at the photo and seems to recognize the man. He shows it to Larry.]

CHARLIE: You know, I've seen this guy.

LARRY: Is that the infamous Lamberg, huh?

CHARLIE: Mm.

[The camera zooms in on the tattoo of the infinity symbol Lamberg has on his hand in the picture.]

[Various strung together clips/dialogue of the man behind the counter at the Crimes Against Children office.]

CHARLIE: He was just in the FBI office.

[Fade out.]

[Fade in: FBI office.]

DON (into phone): I'd don't understand. You're saying Lamberg was here?

[Cut to: Charlie's office. Continues to cut back and forth as the phone conversation continues.]

CHARLIE: He was in the Crimes Against Children office.

DON: Charlie, it doesn't make any sense. He's a fugitive. I mean, why would he do that?

CHARLIE: I saw him in Romero's office. He was there.

DON: All right, I'll check it out. I'll get back to you.

[He hangs up.]

DON: You're not going to believe this. Charlie says Lamberg was here.

MEGAN: What do you mean, 'here'?

DON: In the building. It's crazy.

MEGAN: Why would he be in the building?

DON: In the Crimes Against Children office. So why don't you check their records for any white males who may have made a statement or a complaint... I mean, maybe they left a contact number. I'm gonna check the surveillance tapes in and out of the building.

MEGAN: Okay.

[Cut to: Charlie's office.]

LARRY: And you're sure it was him?

CHARLIE (pointing at photo): Infinity. Same guy.

LARRY: Aristotle said taht infinity was the lack of limitation. Which I suppose could be a defination of evil.

[Charlie walks away. Camera zooms in on Lamberg's face.]

[Cut to: LA street. Megan and Colby driving.]

MEGAN: David talked to an agent in the Crimes Against Children office. Charlie was right. She's linked. It's the same girl.

COLBY: What, so Lamber goes in there and files a complaint under an alias against his ex-wife? Claims she stole the daughter?

MEGAN: He's working a scam to get us to find the girl. He even left a cell phone where he can be reached, which David traced to the Weber Motel on Hoover.

COLBY: All right, well, what are the chances he's still there?

MEGAN: A pedophile obsessed with his prey won't leave without her. This is Lamberg's weakness. He's gonna sit and wait for taht call telling him that we found her and then he's gonna show up and 'save' her from an abusive mother.

COLBY: And if nobody knows what he looks like, he just comes off as another distraught dad.

MEGAN: Gets the girl, he skips to Mexico. This guys got some set on him.

COLBY: You all right? You up for this?

MEGAN: Oh yeah.

[Cut to: Motel. Colby and Megan pull in and get out of the car. A man approaches Megan.]

MAN: Hey, are you the cops?

MEGAN: FBI. Do you work here?

MAN: Yeah, I'm the manager. You guys are feds?

COLBY: That's right.

MAN: And you're here about my truck?

COLBY: Your truck?

MAN: Yeah, it got stole about... thirty minutes ago.

MEGAN: No, we're not here about your truck, sorry. Have you seen this man?

[She shows him Lamberg's photo.]

MAN: Oh yeah, he came in earlier looking for his daughter.

MEGAN: Wait, she's here?

MAN: No, not no more she ain't.

MEGAN: He took her?

MAN: Who?

MEGAN: This man.

MAN: No, no, no, no. He came in, asked for the room number, and next thing I know I see my truck driving away.

COLBY: So this guy stole your truck?

MAN: No, the woman did. Crazy bitch. She must've seen him in the office.

MEGAN (pointing at picture): Where is he now?

MAN: Guess he took off after her.

COLBY: What was he driving?

MAN: A new BMW, very slick.

MEGAN: Let's put out an APB and tell them they should be looking for -- what color is his car?

MAN: Blue.

MEGAN: Blue. If he hasn't caught her already, he'll be following her.

COLBY: Got it.

MEGAN: Will you show me the room where the mother and the daughter were staying?

MAN: Oh, that's...

[He begins to lead her away.]

[Cut to: Inside motel room. The manager lets Megan in and she looks around, spotting the stuffed lion on the bed.]

[Cut to: FBI office.]

CHARLIE: I don't understand. What was he doing in this office?

MEGAN: He was using the FBI to help him find his daughter.

CHARLIE: She's his daughter?

MEGAN: Unfortunately, it's not that uncommon for an abusive parent to accuse the innocent parent and then use the authorities to help track down the child.

DON: Her name's Lippy, all right? He was here filing a complaint against his ex-wife, a woman named... Michelle Collins.

CHARLIE: Well, I found fragments of dozens of emails he sent to her -- to Libby.

[He hands a file to Megan.]

DON: Let me see.

[He reads over Megan's shoulder.]

[Charlie spots the picture of the lion being projected onto the wall.]

CHARLIE: Hey, where's - where is this? This stuffed animal is from the other picture. Where'd you find this?

MEGAN: The motel.

DON: I mean, she was on the run with her daughter, presumeably to get away from Lamberg.

CHARLIE: I tried to tell you she needed our help.

DON: Yeah, Charlie, look -

CHARLIE: Didn't I try to tell you that?

DON: And I told you there's more at stake then just her, okay? I got a dead agent and a guy who's putting millions of dollars worth of the worst drug to hit this country in years out on the street. I want to find her just as much as you do, but I'm tired of this!

MEGAN: Okay, guys. Looking at these emails, he's totally obsessed with her. He is not gonna leave without her.

CHARLIE: Well, then we've gotta find her before he does. What can I do?

DON: Hou bout I'll let you know?

CHARLIE: I have to do something.

[David enters.]

DAVID: Hey, check this out.

[He turns on the television to a news station when a car chase is being aired.]

DAVID: It's the stolen truck.

MEGAN: We need to call LAPD. We need them to tell them to look for Lamberg's blue BMW.

DON: All right, you get out there, I'll call LAPD. Charlie?

CHARLIE: What?

DON: Stay here.

[Cut to: LA street. Officers pull over the stolen truck.]

OFFICER (over PA): Michelle Collins. The road is a dead end. Get out with your hands up.

[Cut to: Inside truck. Michelle has her arms raised in the air.]

MICHELLE: Don't shoot us! My child's in the car!

[Cut to: Street.]

MEGAN: What are you doing?

ROMERO: Suspect's got our missing girl with her.

MEGAN: Suspect?

ROMERO: Michelle Collins. She's wanted for parental kidnapping and drug trafficking.

MEGAN: That's Lamberg's wife. Where's the other car? The blue BMW. Lamberg killed an FBI agent. Your suspect is a victim!

DAVID: Hey, lower your weapons. We called it in. Nobody in the office notified you?

[Megan approaches the truck.]

ROMERO: No, we're working on a tip.

DAVID: That's Lamberg. Romero, he's been using you to help him find his daughter. Turns out this guy's a pedophile.

[Romero sighs.]

MEGAN (into truck): Are you okay?

MICHELLE: He was chasing us.

MEGAN: I'm sorry, you can put your hands down. Come out of the car.

[She opens the passanger side door to find Libby huddled on the floor of the truck.]

MEGAN: Oh, you must be Libby. It's okay, honey, it's safe now. Come out with me and mommy.

[She picks up Libby and sets her onto the ground.]

MEGAN: Oh, and you had to come out of the house in your pajamas. Let's get you a blanket. Here with mommy.

[Megan walks Libby to her mother.]

MICHELLE: Thanks.

MEGAN: Come on up to our car. (to David) If Lamberg knows we have his daughter, there's no reason for him to stay.

DAVID: No.

MEGAN: He's gone.

[Fade out.]

[Fade in: FBI office.]

MEGAN: He's gotta get rid of that car. He can buy one, he can steal one...

DON: Guy like this just wants to move faster, you know? He wants to be more invisible. I mean, we've got agents at every airport.

MEGAN: Yeah, but LAX has all that heavy security. Maybe Ontario.

CHARLIE: Union Station. In one of his emails, he talked to Libby about train rides.

MEGAN: I'll go.

DON: No, no, no. Come on, Megan. You haven't had break. You haven't had any sleep at all.

MEGAN: Nobody's had any sleep. I'll take Colby.

[Don sighs.]

DON: All right.

[Megan leaves.]

CHARLIE: You know, I didn't mean to imply earlier that you weren't doing everything you could for this child.

DON: You should go home too.

CHARLIE: We haven't caught him yet.

[Cut to: Viewing room. On computer screens, we see Libby speaking with a woman and Michelle seperately speaking with David.]

MICHELLE: I walked in on Derrick messing with Libby, and I knew I had to get my act together. He tried to offer me more drugs, you know...

[Don and Charlie enter the viewing room.]

DON: Hey.

MICHELLE: ...to shut me up. But I ran away, me and Lib.

NADINE (in viewing room): The mother's not stable.

DON: Mm-hmm.

NADINE: She's only been off meth for three weeks. I don't think we can leave the girl in her custody.

[Charlie begins to speak.]

DON: Okay, wait, hold on. You know, I think she made a pretty heroic effort for that kid.

NADINE: I understand that, Don...

CHARLIE: Where else can she go?

NADINE: Foster care.

DON: Ah, no.

NADINE: I don't know.

CHARLIE: She tried to save her kid. That has to count for something.

DON: Didn't your office seize most of Lamberg's assets?

NADINE: Yeah, I filled the order myself.

DON: Why can't the U.S. Attorney's office use those assets to help this kid, help them both get on their feet.

NADINE: If we can prove he abused her...

CHARLIE: He had pictures of her on his computer.

DON: I mean, come on, her bedroom was in a superlab. I mean, they test her we're gonna find traces of meth in her blood, in her hair...

NADINE: Okay, let me talk to her.

CHARLIE: Okay.

[Nadine enters the interrogation room.]

[Cut to: Union Station. Various shots of station patrons.]

MEGAN: Colby, what do you got?

COLBY: Nothing yet. Why, you see anything?

MEGAN: Not yet.

COLBY: Yeah, I'm starting to think maybe the airport.

[More shots of patrons, then a shot of Lamberg's photo.]

MEGAN: Just keep looking.

[Cut to: Viewing room. Camera pans over the computer screens. On the first, we see David talking to Michelle. On the second, we see Libby.]

LIBBY: Where's my mom?

[Charlie and Don are watching intently.]

NADINE: She's just right next door.

[Cut to: Inside interrogation room.]

NADINE: So, your dad never touched you?

LIBBY: No.

NADINE: He never hurt you?

LIBBY: No. Stop asking me.

[Cut to: Viewing room.]

DON: See how her eyes flicker and she looks to the right?

CHARLIE: She's lying.

[Don nods.]

NADINE: We want to stop him from hurting you...

[Cut to: Inside interrogation room.]

NADINE: ...Libby. Or anyone else. Are you afraid of him?

[Libby doesn't answer.]

NADINE: Look, you don't have to say anything. Just... nod your head 'yes' or 'no'. Are you scared of him?

[Libby nods.]

LIBBY: Yeah.

[Cut to: Viewing room.]

[Don and Charlie are watching.]

NADINE: Okay, what about your mom?

[Cut to: Inside interrogation room.]

NADINE: Are you scared of her?

LIBBY: No. Can I see her now?

NADINE: Sure.

[Cut to: Viewing room.]

CHARLIE: This can be overcome, right? It's possible for this child to grow and live a normal life?

DON: We're doing everything we can to help her, right?

[Charlie gets up and leaves.]

[Cut to: Union Station.]

[Megan and Colby look around at the various patrons. A man in sunglasses and a baseball cap stands. Megan spots him.]

[Flashback: Binocular shot of Lamberg packing. Shot of his photo.]

MEGAN: He just got up. Tan cap, sunglasses. He's walking towards me.

COLBY: I got him.

[Flashback: Shot of the house exploding Shot of Megan looking down at Gallagher's body.]

[Colby walks up behind Lamberg.]

COLBY: Hey buddy, you got a light? I said, you got a light, Derrick?

[Megan turns and points a gun at Lamberg.]

MEGAN: Down on your knees, bitch.

[He kneels.]

COLBY: Put your hands behind your head.

[He complies. Colby begins to cuff him.]

PATRONS: What's happening? Is everything all right?

COLBY: FBI, it's okay.

LAMBERG: What's going on?

MEGAN: Shut up.

LAMBERG: I think there's been some mistake.

MEGAN: Yeah. I should've put one in your head while I had the chance.

COLBY: Stand up.

[Cut to: FBI office.]

[Charlie is looking at Lamberg's picture. Don enters.]

DON: Hey. We got him.

CHARLIE: You sure?

DON: Yeah, they're bringing him in now. You were right. He was at Union station with a ticket to San Diego. I mean, he was gonna just walk across the border, right out in the open. There he is now. Hey guys.

MEGAN: Hey.

DON: Good job.

LAMBERG: I want my lawyer. Immediately.

DON: Take him to room one.

[Colby leads Lamberg away. Charlie begins to follow.]

DON: Hey, hey.

MEGAN: Come on, Charlie. I'll give you a ride home. Come on.

[She puts a hand on his arm and leads him away.]

[Cut to: Front of building.]

MEGAN: We need to get some food in you, Charlie. And some sleep. You've been up for... thirty-six hours.

CHARLIE: You ever want to kill somebody?

MEGAN: A couple times... Like today.

CHARLIE: There was this girl in my neighborhood, when I was a kid. Jessica. She never said anything, but I knew. I could tell by watching her with her father. The way he would keep his hand on her shoulder... She hated it. And she looked at me, and I knew. And I never did anything about it. Can you believe that?

MEGAN: Yeah. You were just a kid, Charlie.

CHARLIE: It doesn't matter. I knew. You would've done something. And I didn't.

MEGAN: I don't know what I would've done. Or what Don would've done. No one ever knows what they're going to do in a situation until they're there.

CHARLIE: I know I did nothing.

MEGAN: Well, why don't you do something now? Why don't you find Jessica and see how she's doing?

CHARLIE: I could do that.

MEGAN: Sleep on it first, though.

CHARLIE: Mm. I'll go talk to her. Yeah. That's an action I can take. Thank you. How do you deal with this stuff?

[Megan sighs.]

MEGAN: We did a good thing today.

[They begin to walk away. Megan puts her arm around Charlie's shoulders.]

MEGAN: We did a good thing.

[Fade to black.]