"(people conversing)" "MAN 1:" "Everyone gets one bag, one box." "MAN 2:" "Shh, shh!" "All right, guys, before we begin rehearsing the final scene of the evening," "I'm just gonna turn it over to Bing for a second." "He has a very special something to give to Nick, to show our appreciation for directing his first episode." "This is from the camera crew." "FALACCI:" "Oh, God!" "Thanks for a great show." "Oh, thank you so much." "MAN:" "All right!" "(man whistles)" "(speaking indistinctly)" "Thank you." "Thank you so much." "Before everyone leaves." "Well, I-I just have to again thank you guys so much." "I mean, you've made this for a first-timer... you... this, this is the crew you want." "This is the cast you want for a first-timer." "You've really made it a wonderful experience." "Thanks again." "FALACCI:" "It's great." "It's all come full circle." "And it feels like it should have happened this way, so it wasn't a huge stretch for me to direct uh, in-in one key... in a couple key aspects" "One being that I produced, you know, very closely our last six or eight episodes." "So I was there all through prep, and so I was..." "I was like the director's partner." "Nick Falacci's been behind the camera many more times than you would imagine, because he was always, always looking at the show that..." "that he and Cheryl created and always looking at it filmically." "I mean, they write filmically." "And he's always been there, you know?" "Almost in every, uh... every episode, we've had Nick." "NAVI RAWAT:" "I mean, I think it's great, you know?" "I think it's very interesting that he's gonna be doing maybe what could be the last one ever." "So, um... and I think it's kinda apropos in the sense that, you know, they sort of started this journey, so for them to end it, it kinda feels right to me." "And also me directing the second-to-last one, too." "It's just like something kind of like the..." "There's poe..." "There's poetry in that, and, uh... and you know, Nick and Cheryl started with this idea for a show seven, eight, ten years ago whenever they first had the first inclination." "And, uh... and here we are now 118 episodes in, and, uh, the man who, you know, one half of the team that created it will be taking us out and-and, uh..." "and with his vision, so, uh..." "Check it." "I think we're all looking forward to that." "Where we are in the story is that you've gotten..." "AYA SUMIKA:" "I'm really excited for Nick to direct, because, obviously, Nick and Cheryl created the show, and I can't even imagine how he must feel, you know?" "'Cause he's gonna be able to, you know, really enhance the essence of this show, you know?" "And-And enhance, you know, the heart of this show." "So, I can't wait to work with him." "The heart of the show, you know, for me, is always... is Nick and Cheryl, man, and they-they have just..." "You talk about people I-I can appreciate, you know..." "I Twitter to Cheryl." "I was, just..."Thank you for dreaming up Numb3rs."" "I give the credit to her." "I'm not sure if that's accurate, but I do. (chuckles)" "Nick, I love you!" "She's so much better looking." "It's okay." "They were there at my audition, and you know, they're there on the 16th episode." "Nick is directing." "They're..." "They wrote it." "They have been my TV mom and dad for-for the last six years, and they've nurtured every idea that I've had." "Um, and it hasn't been without its arguments and, you know, like any family, really." "But for the most part, um, I don't know if I'll ever find as deep a creative kinship with any creative collaborator" "I might work with for the rest of my career, so..." "But so, potentially saying good-bye to them means more than just, "Ah, the show's over."" "It's kind of like, "Ah, shit." "I don't know if I'll get this opportunity again."" "D YLAN BRUNO:" "Yeah, they obviously are, you know, the reason that we're all here." "They've been a huge influence in the direction of the show." "I mean, their episodes are always great." "I was actually surprised that they're not directing together, because they write together, and you know, it's sort of like we see them always as a team, so it's interesting that they're not directing together." "CHERYL HEUTON:" "But like people kept saying, "So, when are you gonna direct?" you know, 'cause Nick directed." "And I'm, like, "Uh, never."" " I..." "Not..." " The one person in Hollywood" " who doesn't want to direct." " Really have no interest." "Yeah, I have really no interest." "I see what directing takes." "I don't have that kind of..." "My focus works so differently." "How I'm interested in things, how I get through my day..." "I couldn't direct." "I-I don't have that ki..." "Maybe I have a..." "I think I have, probably have" " undiagnosed ADD, maybe." " Mm." "Where's Ali?" "Hey, wow." "(laughing)" " Little jet pack on." " SOPHINA BROWN:" "I'm really excited to-to see not only what we're gonna say... you know, um, 'cause we haven't seen the script yet... but also just to see" "Nick in action, and even though, yes, he is a first-time director," "Nick is so hands-on." "He's very hands-on, um, whenever he's on set, you know." "And he's very good, as well, um, at being very clear and direct, in getting exactly, uh, what he wants you to do across." "So, I'm more than excited to, uh, see what he brings to the table when he's given kind of like, you know, full range to do whatever, you know, and to craft the story," "both writing and directing." "It's gonna be fabulous." "Hey, he stole my money!" "FALACCI:" "And TV is enormously collaborative... huge... between the writing and the acting and the directing and everything else that goes on." "Well, that's-that's a Nick question." "Do you want... you want to lean me... him to take a lean" " down this way?" " Yeah, I like when you..." "Or do you want to throw him?" "FALACCI:" "I mean, my role as director... my biggest role..." "is to block the scene." "It's actually to place where the actors are gonna be and how they're gonna move within the scene, uh, which is something you have to collaborate with the actors, you..." "But often, they just..." "they're-they're good actors, so they have good instincts." "And they often fall right into the type of things you need them to do." "BALLARD:" "It's... it's great." "This is his baby." "This is his baby, you know?" "And it'll be great for him to put his hands on it in a different way." "And I couldn't think of a better way to-to have episode 16, you know, than to have Nick, you know, or Cheryl, you know, both of them." "You know, you know, and just get up there and say, "All right."" ""You know, it's, uh..." "This is how we're gonna do it. "" "Bringing it home." "See, now you know the show is cancelled," " 'cause they let me direct." " MAN:" "Okay, picture will be up!" "KEN SANZEL:" "Nick's got a very good DP and a very good crew that's gonna... that's gonna take him through." "BING SOKOLKSY:" "I think he's gonna do fine." "I think he is very thorough, and, like, as a matter of fact, tomorrow" "I have a meeting with him that-that normally I wouldn't." "I haven't even gotten a script, and we're talking about a shot list, so..." "Um, be interesting for me to try to keep up with what he's got in his head right now, since, you know, I'm shooting today and haven't even had a script put in my hand." "You know, it's very easy for a director... uh, a first-time director..." "to think, like," ""I've got to go in there, and I've got to, like, line up every shot."" "Fortunately, you don't have to do that." "That was, like, my-my biggest, most wonderful surprise on day one, was, I can go in, and I can go," ""You know, I'm thinking about..." "the scene should be like this."" "And just start this dialogue with-with the DP, with Bing, and he would absorb that, and as being an experienced DP, and say, "Okay, here's what I think."" "You and I will figure it out." "You set up how you want to do it, and we'll figure out where to put the cameras from there, but we'll get all of this stuff just before the..." "SANZEL:" "My biggest advice in the inception of the show was to be smart about not presenting himself with production challenges that... that any director would find challenging and to do a fairly conservative show." "FALACCI:" "As an episodic director, you find out quickly that you don't..." "There are so many things you have to pay attention to, you can't see everything going on, or, I mean..." "The better directors will be able to handle so many things, but as a first-timer, I really try to focus on key priorities, which was getting through the day, getting all, you know, getting the basic coverage I needed to get and finish on time." "It's, like, sometimes you just have to go, "It's good enough."" "It's close enough, you know, because, otherwise, doing another two take, maybe another take, will get you what you want." "Maybe it's gonna take another three takes." "Maybe you're not getting something exactly the way you want it, but if you changed it, getting what you want would require a whole new setup, and the cameras will have to be moved, and the lighting will have to be changed," "and now you're a half an hour behind." "So, sometimes you just have to say, "It's gonna work."" "And you really have to think about the episode in terms of the overall story." " And cut." "Great." " MAN:" "Cut." " Is that good for camera?" " Cut." "Good for you?" "Good for you?" "Okay, print it, check it." " We're in act three?" " We're in act three." "Of the last episode." "And we're-we're, um..." "we're-we're doing lunch." "(laughter)" "We're in act three, and I'm gonna make a guess." " What?" " You want to cut out the end of this scene." " Isn't that?" "Is that?" " Oh, yeah, yeah." "You want to leave after he says," ""We may have just found John's gun?"" "Yeah, we're gonna stay right on story." "Excellent!" "Probably the most beneficial thing for me, uh, as being a first-time director was having done this... was to be in the editing room, and to have done it several times and to cut a bunch of episodes." "See how exciting editing is." "(laughter)" "So that when, as a director, you're looking at the script, and you're looking at a scene, and you go, you start thinking, "What am I gonna need when I'm actually cutting this?"" "you go, "Okay, I need this shot, and I'm gonna need..." ""I'm gonna need some coverage, I'm gonna want a dedicated angle on Don's gun, or... "" "And you start to see it in your brain, as far as, you know, an edited scene, so that tells you as a director, "I'm gonna need this setup, that setup, I'm gonna need this."" "It's fun, when you're actually editing." "That's my fav..." "I think that's about my favorite thing to do." "What's interesting about it is-is that it's so close to the writing process." "I mean, it feels like you've come full circle." "You start off in a room by yourself, worrying over every little word, and then at the end of the process, you're in an editing room with one other person, worrying over every little word." "It's your last rewrite, and it is." "It's really your last chance to do a-a final rewrite." "You know, you don't have complete ability to rewrite the script, but you do have, you know, with the modern technology, with the Avids and what you can do, you can really..." "You can change the tone of a scene." "You can get the words a little bit better, or just cutting out a line may change the tone of a scene, so it really is..." "Yeah, it's your final rewrite." "HEUTON:" "When it came time for Nick to direct, the way Tony directs and the way Ridley directs was a great inspiration to him." "Getting more handheld going, getting the show on its feet..." "you know moving it." " ALAN:" "What do you need?" " DON:" "I think he just wants to be the cutest in bed." "SANZEL:" "When I came in, I felt like the show did not look like it was produced by Ridley and Tony Scott, you know, that it had a fairly conservative... palette to it." "FALACCI:" "The fact that this was not just any other television show, this was a television show being produced by Ridley Scott and Tony Scott, and that, I think," " created a s..." " Had to come to a certain level." "Everyone wanted to go that extra step." "Everyone wanted it to look different." "Everyone wanted it to look better, and they didn't really have to tell us everything to do." "It was just their presence alone, and their ideas." "So, you know, they would just throw things into the mix." "CHARLIE:" "There's no practical way to predict where the next water drop will land." "DAVID W. ZUCKER:" "Now, Ridley set a certain template with Tony at the beginning of the series." "They would come down, and they would play with production design." "They'd play with, with color timing." "They'd play with, um, some of the, the visions and how those have evolved." "HEUTON:" "Okay, I think there's just a whole... always this idea that they weren't involved at all 'cause they were busy..." "the big filmmakers doing things." "Yeah, they're very busy, but they're very good at multitasking." "ZUCKER:" "And then, then as Ken came through, as filmmakers collaborate with them, um, when Tony came and directed a couple of seasons ago, you know, each year it's like, "Well, what, what..." "how can we continue to improve?" "What more can we explore?"" "And, um, and I think it's that kind of process that anyone in sort of, uh... with an artistic bent would revel in." "All right, and finally, for now, let's say good night to Peter MacNicol." "(cheering and applause)" "Whoo!" "(cheering continues)" "Uh..." "I, I haven't had that good a time." "(laughter)" "I got to level with you." "And were it not for this crew and this cast and these writers and these producers and my contract," "I wouldn't be here." "(laughter)" "God love you all and see you on the next job." "(cheering and applause)" "(whistling)" "Very sadly, I say "That's a good night" to Alimi." "(cheering and applause)" "I-I hope we are all very proud." "Now, we've had ups and downs, you know, disappointments, you know, no pay raises." "We still got to double bank" " and all that type of shit." " (Laughter)" "Nobody's complaining, though!" "So I'm just gonna say this shit right now, you know," "I'm not gonna say it tomorrow, and, um, uh, y'all have meant everything to me and, um, I love you." " I love you all, I love you all." " WOMAN:" "Love you, Ali!" "BALLARD:" "It's a complete blessing." "I worked with Henry Winkler." "I worked with, you know, so many great people, and I..." "Peter MacNicol and Judd Hirsch." "You know?" "That's every day." "I'm like... knock on wood, knock on wood." "It has been the most amazing blessing." "That's a good night for Dylan." "(cheering and applause)" "Hey, I just want to say something to you guys." "I tried..." "I was going to say something at lunch, but I just was too emotionally overwhelmed and I want to try and keep it from getting too heavy." "(voice breaking):" "But, um, today is actually the five-year anniversary of my mom's death, and, you know, not having her as my family to share all the things I've been through in these five years, I just want to tell you," "like, honestly you guys have been my family, and I'm so happy to have shared my marriage, my kids, you know, a huge milestone in my career, and I just, uh, I just thank you all" "for being family to share through all this stuff." "(cheering and applause)" "It is the best environment I've been in." "I mean, it is really a family." "We've had a really great run, but it definitely feels a little bit before its time, and I think the biggest thing is going to be that transition away from each other." "We've had five years of being excited to come to work because we know who's here, we all like each other, we work hard to accomplish what we're trying to accomplish." "But man, you know, we'll keep in touch with each other... a lot of us will... but the simple fact is, it will never be like this again." "That's a good night to Sophina." " MAN:" "Sophina!" " (Cheering and applause)" "Well, I'll just say that I, you know, am the... kind of, I have the least seniority of the group, and, um, I've been here for a year and a half." "And I just want to thank you all so much." "I mean, I-I had the same sentiment at lunch today as Rob, where I didn't really get emotional until I started seeing all the crew, and just... it's been such a blessing for me to have been here, coming in kind of middle of the game," "and you guys just embraced me so warmly and welcomed me so lovingly." "And I just..." "I thank all of you, really, for just never making me feel like I was out of place." "BROWN:" "I think, for me, the reason for me getting this job... the number one reason... was to meet the people that I did, um, aside from anything else." "I love saying these words every week and I love coming to work, but it's the relationships that I'll take with me, you know, long after we leave." "Um, for example, Aya." "You know, Aya was with me picking out my wedding dress." "You know, I mean, we've just formed such a bond, and that's rare." "It was a bonus that I didn't see coming... to have found such great friendships here." " You know?" " That's a good night to Aya." "(cheering and applause)" "No, no, I'm terrified." "No." "Thank you." "Thank you, thank you, thank you." "I'm terrified of public speaking, so thank you so much." "Thank you, thank you, thank you." "That's all you're going to get from me." "(laughter)" "SUMIKA:" "Numb3rs has been, um, the longest job for me." "Um, I came on when it already was an established series, and I learned... and am still learning, and will forever learn... but especially with this show, I've learned so much, um, from working with incredible writers" "and producers and directors." "I've learned so much from the cast... people who have been doing this for years." "I'm still fairly new to this business, and I can't wait for the next creative challenge, you know, but I..." "Numb3rs will always, you know, have a really warm, fuzzy place in my heart, you know?" "All right, guys, that's a good night to Navi." "(cheering and applause)" "RAWAT:" "Oh, it's..." "I'm..." "it's been such a rough day!" "(chuckling)" "I've been crying since I got here, so I'm gonna continue to cry, but it's been such a pleasure working with all of you." "You're such a wonderful group of people, and it's been just absolutely lovely, and I wish you all the best." "And I'm sure you'll all get it, 'cause you deserve it." " MAN:" "All right." " (Cheering and applause)" "RAWAT:" "I mean, it's been wonderful." "You know, I think it's the kind of thing where, when I found out we might be finished, I was kind of like," ""Oh, well, that's okay, you know, it's been a long time,"" "and now in these last weeks of coming down," "I'm, like, very emotional about the whole thing." "(voice breaking):" "It's kind of hard, um... to talk about it, a little bit." " (chuckles)" " It's all right." "Good night to Judd." "(cheering and applause) anybody's ever had a feeling like this, but I feel like I get an invitation every week to take an airplane to come here 236 times... (laughter) and I get to be invited to a party every week" "and to a family that, that says," ""Come on out and say a few words and we'll all love you."" "Thanks very much." "It's been a really wonderful run." "It's been a crazy, wonderful run, and, um, I guess if it hadn't been for these two guys," "I probably would be looking for a job." "But thank you, thank you very much." " (whistling)" " MAN:" "Judd!" "HIRSCH:" "A show like this, if you understand, is very difficult to write, but I'm pretty sure that if we had the-the chance to go on, we could last another six years." "You could write so many." "There's so much to write about this." "Good night to Rob Morrow, guys." "(cheering and applause)" "Well, I pretty much said it this afternoon, but, uh, I would like to thank the actors, you know." "Um, you guys... it's such a pleasure to play with you, and, and we have such a good time and we have such a give-and-take and we've learned each other's idiosyncrasies and, and ways that we work, and it's, it's effortless now." "And-And y'all know when I'm gonna shift it up and I know when you are, and, uh, it's become a real, uh, a real, uh, troupe." "And, uh, it's been such a good time and I'm gonna miss that, and I want to thank Nick and Cheryl for, uh, f-for giving me this opportunity and giving us this opportunity and creating something that was unique and original" "and that has a life despite the-the currents that are working against us." "And, uh, I'd like to thank Ken for carrying on that vision these last few years and, uh, you know, improving upon and, and, uh... and driving us and not settling and, uh, and all of you for your smiles." " Thanks." " (Applause)" "MORROW:" "It's such a gift, you know, and it's the one thing one has a hard time uh, giving up when it's over." "It's not, it's not so much the employment and the check and all that." "You know, that's all great, but it's like, you get very..." "we get very comfortable." "You know, I've been directing this episode, and, and when I'm working with the regular actors, it's almost like second..." "you know, second nature." "You know, I mean, I barely have to discuss things." "We just kind of go, "You go there, " and when I was directing Peter MacNicol and Judd Hirsch this morning, it was like..." "I barely have to say anything, you know?" "And not only that..." "even the blocking, it's just like everyone knows what we're going to do, so we can kind of fall into it." "So now we're just comfortable and happy, almost like the characters on the show, and, uh, so it's the..." "it's just thinking," ""Wow, I'm gonna... you know..." "I'm... it's gonna..." ""if it's not this year, it's probably next year will be the end."" "And, uh, that's a hard thing to, uh, to think about... giving up, moving on." "Good night to David Krumholtz." "(applause, cheering and whooping)" "David!" "It's awfully difficult to express everything I'm feeling, but I wrote down... (laughter)" "If you'll bear with me." "(laughter)" ""The, uh... the cumulative effect of the work we've done" ""cannot currently be measured, because... (voice breaking):" ""...the work lives on." "(Krumholtz sighs)" ""So, replace your feelings of sadness or loss" ""with feelings of pride over your incredible accomplishment," ""for what seems like the end is really only the beginning." ""I've had the honor of meeting hundreds of Numb3rs fans..." ""...over the six wonderful seasons" ""of the show's broadcast." ""They have related stories to me of family viewing nights" ""in small towns after long, hard days of work." ""They have spoken of being inspired" ""by the show's capacity to educate and enlighten." ""We are all so lucky to have been part of" ""each other's lives." ""This has been the time of my life." "(crying):" ""Your..." ""Your strength has been my strength." ""Thank you all from the very bottom of my heart."" "(applause and whistling)" "KRUMHOLTZ:" "I think the hardest thing, the most polarizing thing about the potential ending of this show is, uh, you become so immersed, so immersed in working with these actors over six years that it's almost inconceivable" "to think about not working with them anymore." "WOMAN (crying):" "Everything changes." "Everything's the same." "Go figure." "(blubbering)" "FALACCI:" "Yeah." "I think it's good." "Uh, let's shoot it." "(laughter)" "(groans)" "KRUMHOLTZ:" "And so, I've been trying to sort of find the emotion in myself, trying to find its meaning." "Like, what is it gonna mean to say good-bye to this guy?" "And I really have had a hard time doing that." "I think it's something that's gonna hit me in the moment." "You know, uh... it-it-it..." "I think it's-it's a nice way to say good-bye, knowing that we accomplished a really rare thing, but that doesn't make it any easier, so it'll be interesting to see, you know, when I do my last scene with Peter," "or I do my last scene with Alimi, uh, how-how that feels when I realize" "I'm not gonna get to work with them anymore." "So, I don't know." "It's a big question mark right now." "Eh." "What are you drawing?" "I thought I'd get a jump on the new project." "What have you got, the garage?" "Let me see." "Uh, guest house." "Uh, we haven't decided on what the rent is yet." "I'll pay you with rib eyes every Friday night." " Yeah, that sounds fair." " You'll be eating them while I'm 7,000 miles away." "Hey, I'm your representative." "What do you got, like a 50-inch plasma there?" " Uh, 60." " DON and CHARLIE: 60?" "You're turning my garage into a man cave." "I like it." "I have to come by once in a while." "Yeah, tell us something we don't know." "Well, everything changes." "Everything's the same." "Hold on now." "What's this..." "what's this doodad?" " That's not a doodad." " Looks like a bowling alley or..." "That's for kitchen." "Listen, um..." "Oh, you got a little kitchen." " Yeah." " I like it." " Stick to your FBI work." " Wait." "Wait." "Now, hold on." "What about a little Jacuzzi?" "This is my design." "All right, but I'm just trying to help you." "This is my room." "I live here." " Let's talk..." " Everybody else lives there." "Let's talk feng shui." " (laughter)" " FALACCI:" "And cut." "(indistinct chatter, two beeps)" "That'll work out really nicely." "We'll just do it one more time." "(indistinct chatter, bell rings)" "One more for Lloyd's of London."