THE MASTADON IN THE ROOM
TEASER
(Flashback to the Airport ending scene from The End in the Beginning. SWEETS hugs DAISY, CAM hugs BRENNAN, HODGINS gives BRENNAN the list of insects, ANGELA hugs BRENNAN. BOOTH and BRENNAN holding hands)
BOOTH: One year from today we meet at the reflecting pool, on the mall.
BRENNAN: I know.
(Close-up of their hands separating. Fade to white, then in bold black capital letters)
Seven months later
(Federal Coroner's Lab, Washington D.C. CAM is looking at a case file stating the victim is of unknown identity, age, race etc, then at the remains of a child on the morgue table. She sighs)
(Cut to Kakwari, Northern Maluku Province, Indonesia. DAISY and BRENNAN are walking through the jungle back to their car)
DAISY: Day 213, found nothing.
BRENNAN: Well, three months ago we found an onyx bead.
DAISY: No offense, Dr Brennan, but what we're looking for is evidence of early man, not jewelry that's barely 200 years old.
(DAISY sees a snake at the back of the car and screams. BRENNAN calmly and carefully drags it out of the car)
BRENNAN: I find it interesting that I'm only afraid of snakes when Booth is around to be jumped upon.
(Cut to Quryah, Helmand Province, Afghanistan. BOOTH and some soldiers are hiding behind a car while another SOLDIER is talking to a native woman. When he finishes, they all jog across the street to meet him, hiding behind a wall)
SOLDIER: She says 2 insurgents, 5 minutes ago, went to kidnap child of NATO interpreter.
BOOTH: We're gonna allow that?
(They all smile)
BOOTH: Uh, Just like we trained boys, a hundred times, all right? (under his breath) Right... (BOOTH dashes towards the house that is their target, the soldiers following him. One of them drops a grenade in the house, then they all burst in, shooting some armed Muslims inside)
(Cut to CNB Studios, Washington D.C. A JOURNALIST is looking over her notes. Cue to CAROLINE and CAM, backstage)
CAROLINE: You think you're here to talk about brain damage in veterans.
(CAM is seated, putting some final touches to her make-up)
CAM: That's because I'm here to talk about brain damage in veterans.
CAROLINE: All she's gonna want to talk about is that missing child!
CAM: (she sighs) I have nothing to say about Logan Bartlett.
CAROLINE: That's the problem!
CAM: I have been up all night, going over forensic anthropology and entomology reports. I can't confirm the identity of the child in my morgue.
CAROLINE: Which is the excuse the Justice Department will use to fire you!
CAM: I'm good at my job, Caroline, they're not gonna fire me.
CAROLINE: Cherie, you are brilliant at your job but you do not understand politics.
(CAM stands up and they both walk towards the talk show's studio)
CAROLINE: What they want is for you to shut up about brain damage in veterans!
(Cut to BRENNAN and DAISY in Kakwari, Maluku)
BRENNAN: If I can't fix this carburetor we're in trouble.
(DAISY notices some armed native men)
DAISY: I think we might be in trouble anyway. Dr. Brennan?
BRENNAN: This is a very delicate situation... If I were you, I'd swallow that engagement ring right now.
(DAISY swallows the ring)
BRENNAN: Those young mean are Alifuru. An Alifuru man's worth is measured by how many daughters he has, not sons, which indicates that they venerate women... We have to show them that we're women!
DAISY: Ok.
(BRENNAN takes of her hat, shakes her hair, puts on a flirty smile)
DAISY: (off-camera) What if these are evil, rapist Alifurus?
BRENNAN: (shaking her hair) Well, in that case, when they get close enough you'll take the little one and I'll get the other two - (she turns back and sees DAISY in her underwear) why are you in your underwear?
DAISY: You said look like a woman. Should I take off more?
(Cut to BOOTH in Quryah, Afghanistan)
(BOOTH is looking around some old houses, he spots the two insurgents dragging a little boy away while his MOTHER begs them in Arab.)
BOOTH: (to the MOTHER) Stay back! Stay back!
(One of the two insurgents notices him and starts raising his gun but BOOTH shoots him. The other insurgent raises the child in front of his chest and starts walking backwards)
BOOTH: Put the boy down!
(The insurgent puts his gun on the child's temple and keeps walking backwards)
BOOTH: Put the boy down! Don't pretend you don't understand what I'm talking about! Put the boy down or I'll shoot you now!
(A soldier has crept behind the insurgent and puts his gun on the insurgent's temple. The insurgent lets the child go and his MOTHER hugs him, crying.)
MOTHER: Thank you! Thank you!
(The insurgent put his hands behind his head and BOOTH takes his gun)
MOTHER: This would not have happened if his father was here, where he's supposed to be; instead of out fighting someone else's war.
(BOOTH stares at her while she's leaving with the child. His phone starts beeping)
BOOTH: Booth.
(Cut to CNB Studios, D.C., and CAROLINE)
CAROLINE: You need to come home right away!
BOOTH: Kinda involved here (Cut to BOOTH in Afghanistan) training Afghanis. What's the rush?
(Cut to CAROLINE in D.C.)
CAROLINE: Cam's gonna lose her job and her reputation if you don't do your white knight routine.
(Cut to BOOTH in Afghanistan)
BOOTH: Why Cam, she's the best coroner in town.
(Cut to CAROLINE in D.C.)
CAROLINE: That's right! Now saddle up, sir Galahad, get yourself back and convince the powers that be.
(Cue to the JOURNALIST and CAM, getting on air for the talk show)
JOURNALIST: Today I have with me in the studio Dr Camille Saroyan, the Federal Medical Examiner for DC and the environs. Dr Saroyan has an exemplary record, winning several citations along the way. It's an honor to meet you, Dr Saroyan.
CAM: Thank you. Glad to be here.
(Cut to BRENNAN and DAISY in Maluku. BRENNAN is fighting with the armed men, using a shovel. DAISY is watching, gesturing and grimacing. BRENNAN knocks out the last one of them)
DAISY: Oh! ... I think I did a pretty amazing job of distracting them.
BRENNAN: Try to start the truck, Daisy, there could be more.
(BRENNAN starts fixing the engine while DAISY sits on the driver's seat. BRENNAN's phone rings)
BRENNAN: Brennan.
(Cut to CAROLINE in D.C., backstage)
CAROLINE: Cherie, I know you're out there looking for the origins of humanity, but you need to get home (Cut to BRENNAN in Maluku) right now!
BRENNAN: Why?
(Cut to CAROLINE in D.C.)
CAROLINE: Because you left Cam all alone and if you don't come back she's gonna lose everything!
(Cue to the JOURNALIST and CAM)
JOURNALIST: With all that success behind you, why are you stalled on the Logan Bartlett case?
(CAM is speechless)
CAROLINE: Booth is coming, everyone is coming, but we need you, because you are the smartest.
(Cut to BRENNAN, in Maluku)
BRENNAN: That's true, I am the smartest.
(BRENNAN hungs up and closes the engine lid. DAISY starts the engine. BRENNAN gets on the car)
BRENNAN: Daisy, we have to get home.
(BRENNAN and DAISY drive away)
(Cut to DC, night view of Capitol Hill and Washington Monument. Cut to BOOTH descending the stairs to the reflecting pool, at the Mall. Cut to BRENNAN wandering, looking around. She turns and sees him seconds after he sees her, they smile at each other, approach each other)
BOOTH: Hi...
(BOOTH and BRENNAN hug. BOOTH pulls away, they smile awkwardly at each other)
[OPENING CREDITS]
ACT 1
(We see an excerpt of CAM's interview on a screen)
CAM: In the last 8 months, I've performed autopsies on six veterans; four fought in Iraq, two in Afghanistan. All six show signs of brain damage consistent with improvised explosive devices.
(Zoom-out to the FBI conference room)
JOURNALIST: Dr Saroyan, why haven't you identified the remains of the child currently on your slab?
CAM: My slab?
(We see the "real" CAM, sitting at the round table)
CAM: Oh, that's not ethical!
CAROLINE: They've started a search for a new Federal Medical Examiner.
CAM: Caroline, I'm very good at my job!
CAROLINE: Yes, you are very good, but that's not the issue. They're mad at you for causing a fuss, and they're looking at an excuse to fire you. That child is their excuse. You said your entomologist and anthropologist are no good, right? What if I told you I got you the best? Plus a cop who will help you, not blame you?
CAM: The best anthropologist is in Indonesia, the best cop is in Afghanistan and the best entomologist is in France!
CAROLINE: I got 'em all coming back.
CAM: How'd you do that?
(CAROLINE starts dialing a number on her cellphone)
CAROLINE: Same way I'm gonna get you a tame psychologist.
(CAM is dumbfounded)
(Cut to a restaurant. We hear someone play the piano, then a sign that reads "For your listening enjoyment, the piano stylings of LANCE SWEETS". Cue to SWEETS playing the piano. His cell phone rings. He picks it up and resumes playing)
SWEETS: Talk to me.
(Cut to CAROLINE at the FBI)
CAROLINE: That is no way for an adult holding a PhD in psychology to answer the telephone!
(Cut to SWEETS)
SWEETS: Ms Julian. I'm on sabbatical.
(Cut to CAROLINE at the FBI)
CAROLINE: Doing what, installing elevators? Because I can hear the music.
(Cut to SWEETS)
SWEETS: Rethinking my life priorities. What's wrong?
(Cut to CAROLINE)
CAROLINE: Booth is on his way back from Afghanistan and I hear he has major post-traumatic stress syndrome.
(Cut to SWEETS)
SWEETS: 'Nuff said, uh, I'll get myself reactivated immediately. (He hungs up)
(Cut to CAROLINE and CAM at the FBI. CAROLINE hungs up. CAM looks miserable)
(Cut to BOOTH and BRENNAN sitting on the stairs, at the Mall. BRENNAN is holding a photo of BOOTH with his Army buddies in Afghanistan)
BRENNAN: So...was it dangerous in Afghanistan?
BOOTH: Nah...what I did was mostly administrative.
BRENNAN: Because you seem really very heavily armed in this photograph.
BOOTH: What about you? Any headhunters or cannibals?
BRENNAN: Daisy and I were attacked by some armed guerillas but I... I beat them up and... we got away.
BOOTH: You beat up armed guerillas?
BRENNAN: I had to! You weren't there to save me!
BOOTH: Aww... Bones! So, did you meet anyone special?
BRENNAN: You mean, did I have s*x with anyone.
BOOTH: I missed that about you, you know? You just cut right to the chase; yeah.
BRENNAN: I was working...
BOOTH: Hmm.
BRENNAN: So there was no time or inclination for s*x or... romance. How about you?
BOOTH: Yeah... I'll show you. Hannah. She's a journalist, war correspondent.
BRENNAN: Ho-how did you meet?
BOOTH: Oh, I arrested her for being in a restricted area.
BRENNAN: You-you arrested me, once.
BOOTH: I remember.
BRENNAN: Where's Hannah now?
BOOTH: She's in Iraq.
BRENNAN: Well- Is it serious between you two?
BOOTH: Serious as a heart attack.
BRENNAN: Heart attacks are very serious.
BOOTH: Yes they are, very serious.
BRENNAN: So... I- I- I find that I'm looking forward to seeing everyone.
BOOTH: Right. Whoa-hoa-whoa, Bones, where are you going?
BRENNAN: To the lab!
BOOTH: Cam's not there anymore.
BRENNAN: Why?
BOOTH: Didn't you stay in touch with anyone while you were gone?
BRENNAN: No. My only contact with the outside world was a satellite phone; and it was only for emergencies.
BOOTH: Good to know it wasn't just me, huh? So, this way, FBI?
BRENNAN: (quietly) Okay.
(Cut to the FBI conference room. SWEETS, HODGINS, ANGELA, BRENNAN, CAM, BOOTH and CAROLINE are all there. CAM is hugging BRENNAN)
CAROLINE: The reason we're here is... People.... The reason we're here... Hello?
(She finally gets their attention)
CAROLINE: Cam here has decided to launch a jihad.
SWEETS: Wow, "jihad" - talk about loaded terminology!
CAROLINE: Far far above us on the food chain, someone with a cold heart has decided that Cam must be silenced.
HODGINS: I'm totally impressed.
BOOTH: Wait wait, what jihad?
CAM: Brain damage in veterans.
CAROLINE: The point is, the easiest way to shut Cam up is to fire her, for cause. Tell them.
CAM: (she sighs) Three months ago a 2-year-old boy, Logan Bartlett, disappears; stolen in the middle of the night from his mother's house.
CAROLINE: Kidnapped child... The media jumped on it big time, blew it up huge.
HODGINS: Do you believe this is Logan Bartlett?
CAM: The media does, and they're saying I'm incompetent because I won't confirm or deny.
CAROLINE: Incompetence is grounds for dismissal.
BRENNAN: Well, the size is right for a 2-year-old. The sternum is crushed, that's a possible cause of death.
CAM: The bug guy says insect activity indicates that the time of death was between six and twelve weeks ago.
BOOTH: So, useless timeframe.
CAM: Yeah; the bug guy is not Hodgins. In fact, nobody is any of you.
BRENNAN: That didn't make sense.
CAROLINE: So, our goal here is, you people tuck in like the old days, make Cam look competent, so we keep us the best federal coroner we ever had.
CAM: I had no idea you thought that.
BOOTH: I'm in. But first thing in the morning I gotta have breakfast with Parker and then I'll go find the missing kid's parents, to see if I can get any information off them. Alright?
ANGELA: We're in.
HODGINS: Absolutely. See you in the lab tomorrow.
CAM: Thank you, guys.
ANGELA: Yeah.
(BOOTH, ANGELA and HODGINS leave)
BRENNAN: I am going to need some help.
SWEETS: Wait, didn't Daisy come back with you?
BRENNAN: Daisy said that she needs some time off. Who else is available?
CAM: Nobody.
BRENNAN: (incredulously) Nobody?
SWEETS: Vincent Nigel-Murray won a million dollars on Jeopardy! Took a round-the-world trip.
CAM: Mr Vasiri switched majors from forensic to cultural anthropology; he's interning at the Baghdad museum.
CAROLINE: Fisher checked into a clinic with a case of "The Hopeless Vapors" - Dr Edison took a position in Chicago.
(CAROLINE leaves)
BRENNAN: What about Wendell?
SWEETS: Last I heard, working in a repair shop. Excuse me.
(SWEETS leaves)
BRENNAN: What happened? You are no longer in the Jeffersonian, all my interns gone...
CAM: What happened is you put your own desires ahead of everything else and you left.
BRENNAN: Are you angry with me?
CAM: Yes, I am angry, Dr Brennan. We had a great thing going and you just... You let it fall apart.
(CAM leaves. BRENNAN is left alone in the room)
(Fade to black)
ACT 2
(Cut to the Royal Diner. Morning. A plate of pancakes is served on the counter for PARKER and BOOTH)
BOOTH: Ah...Look at that, huh?
PARKER: Dad?
BOOTH: Yeah.
PARKER: Did you kill anybody?
BOOTH: Why are you asking me that?
PARKER: My friends always want to know. What should I tell them?
BOOTH: You tell your friends that your dad does his duty the best that he knows how. Alright? Someday, me and you are gonna talk all about it, alright?
PARKER: When?
BOOTH: Y'know, when you're older; when you're a man.
PARKER: Are you going away again?
BOOTH: No. Never.
PARKER: Because of me?
BOOTH: Because of you. It's the best reason ever. Huh? Drink your orange juice, here we go; let's eat up. Mm?
(Cut to a repair shop. BRENNAN is walking between to school buses)
BRENNAN: Wendell? Wendell Bray?
WENDELL: Yeah...
BRENNAN: Oh, it's Dr Temperance Brennan.
(WENDELL peeks out from inside of one of the school buses)
WENDELL: Hey, welcome back! Did you find Homo fluoresciensis, in Maluku?
BRENNAN: No, not yet. Why are you fixing the bus? You are a highly educated and fairly intelligent young man!
WENDELL: Gotta pay a rent, save up for tuition.
BRENNAN: What happened to your fellowship?
WENDELL: After you left, the new forensic anthropologist wasn't based at the Jeffersonian, he was in New York, so they shut down the program.
BRENNAN: I am very very difficult to replace.
WENDELL: That you are!
BRENNAN: I would like to hire you to... help me.
WENDELL: For how long?
BRENNAN: For however long it takes to identify these remains; and then I have to get back to Maluku.
WENDELL: No can do. I, uh, pulled in favors to get this job. Gotta think long-term. I appreciate the offer though.
(he turns his back on her)
BRENNAN: How much would it take? Because I have quite a lot of money and it's no use to me in Maluku.
(WENDELL turns around again. He smiles)
(Cut to the FBI interrogation room. BOOTH is talking to TREVOR and CARRIE BARTLETT)
CARRIE BARTLETT: I-I put Logan down at 8pm, after his bath. I read him a story. He's a good sleeper.
TREVOR BARTLETT: You have a glass or two or wine after that, Carrie, or did you just go straight to the vodka?
CARRIE BARTLETT: Don't do that. (to BOOTH) Look, I've been sober for over a year.
BOOTH: So when did you notice Logan was gone?
CARRIE BARTLETT: He's usually up around six. That's when I went in and he was just... he was gone.
BOOTH: Where were you Mr. Bartlett?
TREVOR BARTLETT: Me and Carrie split up last year.
CARRIE BARTLETT: I-I got custody for Logan.
BOOTH: Again I'm asking you, where were you when your son disappeared?
TREVOR BARTLETT: I got family in Delaware, in Dover. Got receipts, witnesses, whatever you need. Missing Persons cops, they got it all.
CARRIE BARTLETT: Trevor's angry, Agent Booth, but he would never do anything to harm Logan.
TREVOR BARTLETT: Thank you for that Carrie.
BOOTH: Look, I'm a father; I can only imagine what you're going though right now. I really appreciate you coming in. There's an Agent outside who's gonna drive you home. Ok?
TREVOR BARTLETT: What about me?
BOOTH: I have a few more questions for you.
CARRIE BARTLETT: Agent Booth... Do you think that the body in the morgue... the one they're talking about on TV... Do you think..?
BOOTH: It's not very clear right now... If I were you, I'd take that as a sign to have hope. Right?
(She nods. BOOTH opens the door for her)
BOOTH: (quietly) Thanks.
(Cut to the Coroner's Lab. CAM, WENDELL and BRENNAN are there. ANGELA enters)
ANGELA: Wow...These really are the remains of a child, huh?
CAM: Yeah. And that about sums up my total knowledge on the case: it's a male child.
WENDELL: You like living in Paris?
ANGELA: Are you kidding? It's Paris! Yeah, I get to draw the Eiffel Tower; not dead children's faces.
BRENNAN: These remains were found wrapped in a blanket in a shallow grave along the Potomac.
ANGELA: Yeah... I don't know if that's a blanket. Um... Looks like it might have been cut from something larger..? Now the stitching suggests that it maybe it's from some kind of garment; like a jacket or a sleeping bag.
BRENNAN: What does this look like to you, Wendell? (She points at an X-ray on the screen)
WENDELL: Root completion of the canines.
BRENNAN: That plus the fusion of the vertebral elements.
CAM: You're suggesting that this victim is over three years old?
BRENNAN: Yes.
CAM: Despite his small size?
ANGELA: It's hard to be sure in a child this young but, the eye orbits are relatively round.
(BRENNAN approaches the table to look at the skull)
BRENNAN: Yes! Angela's right.
CAM: About what?
BRENNAN: The round eye orbits. The skull is brachycephalic.
ANGELA: If I was reconstructing this skull, I'd definitely be going Asian.
CAM: So it can't be Logan Bartlett. (she sighs)
(Cut to the FBI. BOOTH and TREVOR BARTLETT are exiting the interrogation room)
BOOTH: Thanks for your cooperation.
TREVOR BARTLETT: Do me a favor, huh? Quit wasting your time appreciating my cooperation; go find my kid.
CAROLINE: Nice man. You think he killed his son?
BOOTH: I don't quite get killer off of him. (He notices people in his office) Ho-how! What's going on here?
CAROLINE: Agent Colby is moving out so you can move back in.
BOOTH: Hm. (he nods)
CAROLINE: You aren't going back to Afghanistan after this, are you? (BOOTH starts walking away. CAROLINE follows him) Because I told Agent Colby that you needed your office back. Don't you make me a liar!
BOOTH: Nah... I'm not going back. Something happened to me back there that made me realize I have to be here for my son.
CAROLINE: You almost die or something?
(BOOTH sighs)
CAROLINE: I should know better than ask. Anything else happened down there that you'd maybe like to talk about? A little something-something?
(BOOTH takes his cell phone out and shows her the photo of Hannah)
CAROLINE: Ah!
BOOTH: Huh?
CAROLINE: I like the set of her chin.
BOOTH: Right?
CAROLINE: Does Dr Brennan know?
BOOTH: 'Course she does.
CAROLINE: Sort of takes the emotional pressure off, I guess.
BOOTH: Right?
CAROLINE: Which means there's absolutely no reason for the two of you not to work together, get the old team back together, catch miscreants and killers and the like.
BOOTH: Well I'm staying, but I'm pretty sure Bones is heading back to the Moppapuchuy Islands or whatever they're called, to find her missing link to humanity.
CAROLINE: Well, we'd all like for her to find that.
BOOTH: Right? Me too.
CAROLINE: Mm-hmm.
BOOTH: No missing link there, though, right?
CAROLINE: There ain't nothing missing over her.
(Cut to SWEETS and DAISY, walking on a sidewalk. Evening)
DAISY: You wouldn't believe what I went through to hang on to that.
SWEETS: I never asked you to give me the ring back.
DAISY: When I left, you and I weren't really precise on where we were as a couple.
SWEETS: You flushed me, Daisy. I mean, how- how much more clear could it be?
DAISY: Just to be clear, in your mind, we're no longer engaged?
SWEETS: What? No!
(they stop walking)
DAISY: I thought about you every day.
DRIVER: Hey! Get out of the way! (horns beeping)
(SWEETS and DAISY resume crossing the street)
SWEETS: Okay, this is very confusing for me; because I spent the last few months trying to forget about you.
DAISY: You found someone else while I was away?
SWEETS: Well, as a matter of fact, yeah, I met a few women and... by a few I mean more than two.
DAISY: I was completely faithful, but I don't blame you for seeking comfort in the arms of others.
SWEETS: Blame me? You looked me in the eye and told me that your career would always come first.
DAISY: I was emulating my mentor, Dr Brennan and she was wrong, which means I was wrong too. I was led astray by my brain.
SWEETS: Well, I need some time to think.
DAISY: Then you keep the ring. You want us to be engaged, you just give it back.
(DAISY leaves. SWEETS looks at the ring, then turns to leave at the opposite direction)
(Cut to the Coroner's Lab. BRENNAN and WENDELL are there. BRENNAN is holding up an X-ray)
BRENNAN: Yes, I'm seeing Harris' lines here, in the tibia.
(She gives WENDELL the X-ray)
WENDELL: These lines of calcified material in the shin bone?
BRENNAN: Signifies childhood malnutrition.
(WENDELL puts the X-ray on a table next to him, then hands BRENNAN a pair of gloves. He points at the skull)
WENDELL: The skull shows...um... I forget what these lesions are called but they're caused by iron deficiency anemia...?
BRENNAN: Porotic hyperostosis.
WENDELL: Yeah.
(CAM enters)
CAM: Comes from working on bus engines, I guess.
BRENNAN: Well, anyone could learn the labels, Mr. Bray, but not everyone would notice the condition.
CAM: Nice! What have you got?
WENDELL: Well, we won't know for certain until we get a complete histological profile but it's looking pretty good that this kid is an Asian immigrant.
BRENNAN: By pretty good, Mr. Bray means a better than 85% chance.
(ANGELA and HODGINS enter)
ANGELA: Hey! Hodgins found some bug evidence.
WENDELL: Hey Hodgins what's up?
HODGINS: Hey brother! (HODGINS higs WENDELL, then looks around)
HODGINS: Wow! What is with this scuzzy hellhole? And where is my office?
CAM: You see that table over there? That's you office; and you have to share.
HODGINS: Huh!
CAM: If these remains are Asian, that might help explain his size and this is all adding up to the likelihood that this is not Logan Bartlett.
HODGINS: It's not Logan Bartlett. Cam's bug guy - really not top shelf by the way - says that insect activity indicates that this kid died between six and twelve weeks ago but he didn't take into account the fact that the kid was wrapped up.
BRENNAN: The blanket retarded insect activity.
ANGELA: Again, not a blanket.
HODGINS: Calliphoridae and Sarcophagidae flies are present as adults and early instar larvae... you're not interested in details. Okay. Upshot: this child died at least sixteen weeks ago; long before Logan Bartlett went missing.
BRENNAN: I think we're all agreed that this is not the missing child.
ANGELA: No, maybe not the famous one but, this is somebody's missing child.
(Fade to black)
[SCENE_BREAK]
ACT 3
(Cut to the FBI conference room. CAROLINE is closing the sliding door while BRENNAN and BOOTH are inside the room)
CAROLINE: So you are positively absetively certain that it isn't Logan Bartlett?
BOOTH: Absetively, that's not a word.
BRENNAN: Yes, we are certain.
CAROLINE: So you people come back from the far-flung corners of the earth, out past the outer suburbs of Timbuktu and you solve the case in a shake?
BRENNAN: What's a shake?
CAROLINE: Three jiffies in a cha-cha.
BOOTH: Cha-cha-cha!
BRENNAN: We didn't actually solve the case; all we've done is ascertain that the remains are not those of Logan Bartlett. We still have to figure out whose remains are in Cam's lab and what happened to him.
CAROLINE: You are so right, Dr Brennan, how could I have taken my eye off the ball like that?
BRENNAN: Blood flow is crucial to cognitive dexterity; perhaps you don't get enough exercise.
BOOTH: We figure this out, Cam has a chance to keep her job, right?
CAM: That's what you came back for, isn't it? Help out Cam?
BOOTH: Absetively!
(Cut to the FBI observation room, where the video of TREVOR BARTLETT's interrogation is playing on a screen. SWEETS is watching it)
MR BARTLETT: Look, nothing against Carrie. But you got to admit it was crazy to choose the alcoholic mother over the father. It was just a bad decision; something was bound to happen.
(BOOTH enters)
TREVOR BARTLETT: (on screen) And I'll tell you something else...
BOOTH: Sweets! Why are you looking at that?
(SWEETS pauses the video)
SWEETS: When this guy looks you in the eye, his expressions reach his entire face, not just his mouth. He's speaking in contractions instead of formally.
BOOTH: He's telling the truth?
SWEETS: Yes! Look; see? He expands himself outwardly, in this communication. A liar doesn't do that, a liar pulls in. Not only is this guy telling the truth; he's relaying facts.
BOOTH: Forget about this guy, okay? This is a Missing Persons case right now; it's out of my hands. What's important right now is, we're working on a homicide. What do we have on that?
SWEETS: Well, the remains were wrapped, which suggests a sense of ceremony, a loving burial; or, equally possible, shame, which makes sense cause the child's hands and feet where bound with twine.
BOOTH: s*x crime.
SWEETS: Hard not to go there.
BOOTH: Thanks.
SWEETS: Yeah...
(BOOTH turns to leave)
SWEETS: Hey, uh, Booth, can I ask you a personal question?
BOOTH: Oh, that depends. About you or me?
SWEETS: Me.
BOOTH: Shoot.
SWEETS: Okay... Daisy just wants to pick up where we left off and I don't know whether to...
BOOTH: Move on.
SWEETS: Yeah? Like you did?
BOOTH: You know what? You asked my opinion, right? I'm gonna give it to you; are you listening? Give yourself a chance to be happy: move on.
SWEETS: And that worked for you?
BOOTH: Yeah, it did. It did.
(SWEETS nods. BOOTH leaves. SWEETS stays, staring at his retrieving back)
(Cut to the Royal Diner. Morning. BRENNAN and WENDELL are having breakfast. BRENNAN is looking at an X-ray)
WENDELL: If you don't mind me asking, Dr B, why do you keep staring at the X-ray?
BRENNAN: Because I'm suffering the nagging certainty that my...
(She picks up her glass and holds it between her eyes and the X-ray as she speaks)
BRENNAN: ...eyes are seeing something which my brain refuses to process.
WENDELL: Isn't your brain supposed to be the smart one?
(ANGELA joins them)
WENDELL: Hey Ange, you want something to eat?
(ANGELA sits down)
ANGELA: I do, yes, but... I want it in Paris. Are her eyeballs and brain pan arguing again?
WENDELL: Yeah; Clash of the Titans!
BRENNAN: Got it! There's nearly imperceptible damage to the hyoid.
WENDELL: Little boy got strangled?
BRENNAN: No it's not cracked or crushed, it's more like there's a- a hole or a puncture.
WENDELL: I'll check it out on the actual bone.
(WENDELL stands up and leaves)
ANGELA: Sweetie! Sweetie, can I get some attention over here?
BRENNAN: Yeah, uh (she puts the X-ray down) - yes it's very good to see you. Because you are my best friend and I love you like a sister - ah, I assume, not having an actual sister to use as a control.
ANGELA: Right, yes, yes, I know. So, um... What is the deal with Booth? Is it weird seeing him again?
BRENNAN: Not at all weird; very nice.
ANGELA: Are there any old... surges... of feelings; anything like that?
BRENNAN: Booth fell in love in Afghanistan.
ANGELA: Oh! Oh sweetie, I'm so sorry!
BRENNAN: Why? Are- Are you in love with Booth?
ANGELA: Well, a little bit but... that's not what I mean. Don't tell me that you're happy about him finding somebody else!
BRENNAN: I'm very pleased for him. A committed, romantic dyad is exactly the kind of relationship Booth seems to require to be happy.
ANGELA: Did you think about Booth at all when you were away?
BRENNAN: Yes I did; a- a few times I actually... dreamed about him.
ANGELA: Oh, well, there you go! Dreams are very meaningful.
BRENNAN: I dreamed about the work we do; I dreamed about catching murderers and getting justice for... people who were killed. What does that mean?
ANGELA: It means you're going to die loveless and alone.
BRENNAN: I don't follow your reasoning.
ANGELA: Sweetie, can you please ask me how I am, please?
BRENNAN: Well, I already know how you are. You love living in Paris and you don't miss murders and violence.
ANGELA: What I did miss is... my period.
(BRENNAN looks at ANGELA with wide eyes, then hugs her)
ANGELA: I hope you're hugging me because you're excited about being an aunt.
BRENNAN: No, I'd have to be your sister to do that. Oh! Which I am - metaphorically.
ANGELA: Yes, you better be, because I haven't even told Hodgins yet.
BRENNAN: Well, anthropologically speaking, women often confide in other women before broaching sensitive subjects with their mates.
ANGELA: (she sighs) Okay.
(Cut to the Coroner's Lab. WENDELL, CAM, BRENNAN and HODGINS are there. WENDELL is pointing at an X-ray on the screen)
WENDELL: Dr Brennan was right, I found a very small puncture in the boy's hyoid.
CAM: A puncture; like he was stabbed?
HODGINS: That's what I thought; so, I took a close look and I found...
(He points BRENNAN to the microscope. She looks)
BRENNAN: Cellulose?
HODGINS: Wood. My best estimate is hard wood: maple, alder or ash.
BRENNAN: I don't believe a stabbing would cause this kind of damage.
CAM: How else would a sharp piece of wood come into contact with the hyoid?
WENDELL: Maybe a toothpick.
BRENNAN: Combined with concomitant damage to the sternum, I propose the following scenario: a child swallows something, perhaps a toothpick; he... chokes, he stops breathing; someone tries to save him.
WENDELL: The damage to the sternum was from the Heimlich maneuver.
CAM: What about him being tied up like this?
HODGINS: Yeah, that mostly looks bad.
BRENNAN: There are cultures where the binding of hands and feet is part of the burial ritual: ancient Jews, some Asian cultures, including the subcontinent.
HODGINS: Angie says the boy was Asian.
CAM: So we're not looking at a murder, we're looking at negligence, or maybe even an accident?
BRENNAN: Logically, I'd say yes.
(Fade to black)
ACT 4
(Cut to the Coroner's Lab. HODGINS is there. CAROLINE and CAM enter)
HODGINS: Korea!
CAM: Korea?
HODGINS: The boy was wrapped in a kind of polyester fabric which is not legal in the United States; it's flammable. But, it is very common in North Korea; mostly in outerwear.
CAM: That would explain the malnutrition. North Korea's not famous for its cuisine.
CAROLINE: North Koreans aren't allowed to leave their country.
HODGINS: Well, a few lucky ones escape; mainly to rejoin their families in South Korea. There's something else: the twine there that's binding the boy's hands and feet? It's a very heavy industrial embroidery thread.
CAROLINE: Sleeping bags?
HODGINS: Yes. Also casket linings, moving blankets, horse blankets...
CAM: So, we're looking for an industrial sewing operation with a Korean connection.
(HODGINS nods)
(Cut to BOOTH and BRENNAN in the SUV)
BOOTH: That is one sweatshop, an upholsterer and an awning manufacturer. Okay, what's next?
BRENNAN: Hip-Chun Industries.
BOOTH: Okay, Hip-Chun.
BRENNAN: I- I find this reassuring.
BOOTH: What?
BRENNAN: Us! Sitting like this; going to check out a possible crime scene. You, refusing to wear your seatbelt...
BOOTH: Hey! The going gets rough, you know, I'm not wasting valuable time looking to release a seatbelt catch.
BRENNAN: Man of action.
BOOTH: That's right; like a jungle cat! Rawrr!!
BRENNAN: No, you should say like a flea when referring to lightning-fast reflexes.
BOOTH: I'm not going to say I'm like a flea...
BRENNAN: It's more accurate.
BOOTH: Listen, Bones, we gotta talk about this.
BRENNAN: The way my use of accurate similes makes you uncomfortable?
BOOTH: No! Are we gonna put the old team back together again?
BRENNAN: I dreamed about this.
BOOTH: You did? Oh! Oh, you mean you literally dreamt about it. Right, so, you're open to the idea.
IBRENNAN: It's an anthropological fact that in any community of individuals there is a linchpin or keystone personality.
BOOTH: Uh, the leader, you mean.
BRENNAN: Mm, not usually. Mostly it's just a... member of the group who otherwise might seem invisible but... when she leaves, the group disintegrates.
BOOTH: She?
BRENNAN: Yes, I am obviously the linchpin personality in our group.
BOOTH: But, yeah- I left too.
BRENNAN: But after I decided to leave.
BOOTH: No, you left after I... Alright, the question is, are you back?
BRENNAN: (frowning) I'd rather go back to Maluku, but I feel, as a linchpin personality, that I... should put my own selfish desires behind the good of this group.
BOOTH: Great, so you're staying.
BRENNAN: Yes.
BOOTH: Great! There you go! All you have to do is get Hodgins and Angela on board, right? Talk the Jeffersonian into giving us our lab back and then track down all you squinterns.
BRENNAN: It's a long list of very difficult tasks!
BOOTH: Well, it's not easy being the linchpin now, is it?
BRENNAN: Mm, that's true.
(Cut to SWEETS and DAISY walking at the FBI corridors)
DAISY: Did you make a decision about the ring?
SWEETS: Daisy, when Dr Brennan goes back to Maluku, are you going with her?
DAISY: Definitely not!
SWEETS: Really? (he leaves a file on a desk)
DAISY: I don't like snakes. Or being away from... people. Lance, please don't keep me hanging, are we together or not?
SWEETS: Well, we're not engaged.
DAISY: So you're keeping the ring?
SWEETS: I'm keeping the ring.
DAISY: Would you like to still be friends?
SWEETS: Yes!
DAISY: Well, that doesn't work for me!
SWEETS: I'm sorry but I'm just not the same guy I was when you left me holding my crushed heart in my hands.
(They stop I front of the elevators)
DAISY: I know. You wear hats now, and a cute little beard.
SWEETS: So... I guess this is goodbye then.
DAISY: You'll always be my Lancelot. You'll always be the one that got away, after I threw the one that got away back - but perhaps the sequence of events isn't all that important.
SWEETS: It is to me. Bye Daisy.
DAISY: Bye Lance.
(They kiss briefly, supposedly to say goodbye. They look at each other, then start kissing again, more passionately. The elevator doors open and the agents inside stare at them)
(Cut to Hip-Chun Industries. BRENNAN and BOOTH are talking with the boss, PATRICK PARK)
PATRICK PARK: My parents emigrated from South Korea at the end of the Korean War, but I'm an American citizen.
BRENNAN: Do you employ anyone from... North Korea?
PATRICK PARK: Yes; an old friend of my father's and his granddaughter escaped to South Korea so we sponsored them. We cleared out a small apartment for them.
BOOTH: They work for you here?
PATRICK PARK: Yes; the, uh, the old man does minor carpentry and repairs and- and the granddaughter is... right there. (he points to both of them)
BOOTH: Does she have a child around three years old?
PATRICK PARK: Yes she did but she decided to send him back to his father in South Korea. I gotta tell you, I think she regrets that. And both of them are really screwed up about it.
(BRENNAN and BOOTH look at each other)
(Cut to the house of the Korean immigrants, KANG MI CHA nad KANG KYU BOK. BOOTH and BRENNAN are with them)
BOOTH: (to the woman) You know why I'm here.
KANG MI CHA: I not speak very good English.
BOOTH: Oh you're doing a really, really good job. Uh, pleased to meet you, sir.
(BRENNAN starts walking further inside the house)
BOOTH: You understand, though, why I'm here.
(KANG KYU BOK and KANG MI CHA speak in Korean)
BOOTH: Mr. Park says that you have a- a child. (she nods) Three years old? (she nods again) Um- where is he?
(KANG KYU BOK and KANG MI CHA speak in Korean again)
BOOTH: Myung Dae; is that your boy's name, Myung Dae?
KANG MI CHA: I send Myung Dae back to Korea.
(KANG KYU BOK asks something in Korean)
(BRENNAN checks the child's wooden cot, takes a wooden screw out of it fairly easily)
BRENNAN: Booth...?
BOOTH: But we know what happened. Myung Dae choked on a wooden screw.
BRENNAN: We know it was an accident; that you tried to save him. But he died.
(KANG MI CHA starts sobbing)
BOOTH: You wrapped him up in a blanket that you made from your jacket and you buried him with as much love as you could.
(KANG MI CHA hugs KANG KYU BOK, crying)
(Fade to black)
ACT 5
(Cut to the Founding Fathers, evening. CAM, BOOTH and BRENNAN are having drinks)
CAM: They were so afraid of the authorities that they buried the child themselves?
BOOTH: Y' know, the States, they seem like heaven to them. I mean, they... they probably thought they were going to be executed or even worse, sent back to North Korea.
BRENNAN: What will happen to them?
BOOTH: Ah, you know, knowing Caroline, she probably won't even charge 'em. Caroline is a nice person... underneath the whole... you know, not nice... thing.
CAM: I'm afraid I have to agree, she got everybody back here to save my job.
BOOTH: Why do we only solve crimes when we have a dead body?
CAM: Seriously? Because I'm a pathologist and she's a forensic anthropologist? Fresh dead, long-time dead?
BOOTH: I was thinking about Logan Bartlett.
BRENNAN: The missing boy?
BOOTH: Yeah, I checked out the Missing Persons investigation into the father and... The dad buys a car three days after the son disappeared. What kind of father does that?
(Cut to a park's playground. Morning. BRENNAN and BOOTH are in the SUV with CARRIE BARTLETT)
BOOTH: Mrs. Bartlett, you know that this is a long shot, right?
CARRIE BARTLETT: You told me to have hope. This is me hoping.
BRENNAN: If it's such a long shot then why did we bring her?
CARRIE BARTLETT: This is the only park near where Trevor's brother lives. Logan loved it.
BOOTH: Well, just don't get your hopes up too much, alright?
BRENNAN: Oh, I believe she should get her hopes up.
BOOTH: Bones, why?
(BRENNAN points outside. TREVOR BARTLETT is putting a child on the ground to play. BOOTH gets out of the SUV. So does BRENNAN and CARRIE BARTLETT)
BOOTH: Mrs. Bartlett, please stay in the car.
CARRIE BARTLETT: That's Logan! Trevor dyed his hair but that's Logan!
BOOTH: You just have to trust me, okay?
CARRIE BARTLETT: Oh, he's not dead; I thought he was dead, oh my God!
BOOTH: Just trust me.
(TREVOR BARTLETT is dialing a number on his cell phone)
BRENNAN: The man is ignoring his child. Why would he do that if he loves him so much?
BOOTH: He doesn't love him; he kidnapped him to hurt his wife.
BRENNAN: I find I would like to strike him!
BOOTH: Oh, let's hope he runs, right; then I'll take him down like a flea. Alright? So, when I get between Logan and the dad you make sure that you get Mrs. Bartlett to the child. Alright?
(BOOTH starts approaching TREVOR BARTLETT. The guy notices him and starts running away, but BOOTH catches him and they both fall to the ground. BRENNAN and CARRIE BARTLETT run to the LOGAN BARTLETT)
BRENNAN: Logan! Hi! Hi, how are you? (LOGAN smiles) I have found someone.
(CARRIE BARTLETT hugs LOGAN. BOOTH handcuffs TREVOR BARTLETT and gives a thumbs-up to BRENNAN)
CARRIE BARTLETT: Missed you! I missed you! Baby! (she sobs)
(Cut to the Royal Diner. HODGINS and ANGELA are entering)
HODGINS: Oh, you wanna stay? Here? In DC?
ANGELA: I think it would be good if we had the baby here, in the States.
HODGINS: A baby! Our baby! 9they sit next to the counter) Still sounds so weird; we're gonna have a baby! We're gonna stay in the States, to have our baby.
ANGELA: Yeah, all that wine in France is now totally wasted on me. (to the waitress) Tea, please. (to HODGINS) Why did you suddenly get quiet?
HODGINS: Oh, because I am so happy!
ANGELA: Okay; so you don't mind then.
HODGINS: Are you kidding? This is the greatest news I've ever gotten.
ANGELA: No. No, I mean about- about staying in the States.
HODGINS: Mind? Angie, I only love Paris because you love Paris, but... catching bad guys, that's what I'm made for. You're not... doing this for me?
ANGELA: You mean the way you went to Paris for me? No I'm- I'm doing it for the baby.
HODGINS: The baby! We're gonna have a baby. I'm gonna be a dad.
ANGELA: You know what else I've been realizing too, is that we are actually the glue that holds the whole clattery operation together.
HODGINS: A baby. I'm gonna be a daddy.
ANGELA: Okay. Alright, we'll finish this conversation when you have your brain back. I think that we should also- we should just keep it between us until past the first trimester, okay?
(HODGINS nods and starts tearing up)
ANGELA: Oh... If you cry... Don't cry, if you cry then I'm gonna start crying and then...
(Cut to the Founding Fathers. Evening. CAROLINE, BRENNAN and BOOTH are having drinks. They're clinking their glasses)
CAROLINE: The whole Scooby Gang is coming back.
BOOTH: That's right, we're back!
CAROLINE: That's how it should be. You got something magic, you don't scatter it to the ins of the earth; you concentrate it in one place. There isn't a single normal law enforcement officer who could work with these people.
(BOOTH's phone starts ringing)
BOOTH: I'm the linchpin, okay, I'm the linchpin! (he answers the phone) Booth!
CAROLINE: What are you staring at?
BRENNAN: It's you!
CAROLINE: What's "me"?
BRENNAN: You are the linchpin! You managed to get us all back here and then you fixed it so we'd stay!
CAROLINE: I have no idea what you're talking about, Dr Brennan.
BRENNAN: Thank you.
CAROLINE: You're welcome.
BRENNAN: I find I'd like to hug you.
(BRENNAN starts to hug CAROLINE but she backs off, looking at her incredulously. BOOTH returns)
BOOTH: Cam's back to the Jeffersonian. Uh- why are you staring at Bones like that?
CAROLINE: I prefer you don't leave us alone, together.
BOOTH: (to BRENNAN) Why? What'd you do?
(BRENNAN shrugs)
(Cut to the entrance of the Medico-Legal Lab, at the Jeffersonian. CAM unlocks the sliding doors and her, BRENNAN BOOTH, DAISY, SWEETS, ANGELA, HODGINS and CAROLINE enter)
CAM: Well, I think we should thank Dr Brennan for insisting that the Jeffersonian reform a forensic unit on the premises.
BRENNAN: And we should recognize that Booth's return to duty at the FBI means that we can work with him again.
BOOTH: So how come I'm not the linchpin here? I'm the linchpin.
CAM: I would like to say thanks personally, to all of you for dropping everything you were doing...
SWEETS: ...fighting wars.
WENDELL: ...searching for the origins of humanity.
DAISY: ...and totally failing!
ANGELA: ...making beautiful music for shoppers...
CAM: You are all my true friends; and I won't forget it. But, let there be no mistake, I am the boss and I am in charge.
(CAM turns on the lights. We see a pre-historic mastodon exhibit on the forensic platform, part of an exhibition taking place in the area.)
CAM: Oh! That's really gonna get in the way!
(Everybody is staring at it with their mouths agape)
CAROLINE: Totally not my problem!
(CAROLINE leaves)
HODGINS: Uh... I- I have an announcement to make.
ANGELA: Oh, yeah, yes-
HODGINS: Yeah.
ANGELA: Yes, he does, um- we're- we're gonna go home! So... okay?
HODGINS: No, Iet-
(ANGELA and HODGINS leave)
CAM: I'm going for drinks.
WENDELL: I'm with you!
(CAM and WENDELL leave)
DAISY: Oh, can Sweets and I come? I mean, not together, just at the same time, cause we're not together anymore, right?
SWEETS: Right.
DAISY: I won't sit next to you! I promise.
(SWEETS and DAISY leave)
BRENNAN: Did you see how happy Hodgins was, to be back at work? I'm definitely doing the right thing.
BOOTH: Okay, I think there's a little more going out there, Bones. Wow! Okay... That thing is really big!
BRENNAN: It's a lot to work around.
BOOTH: Uh, we've worked around bigger. Metaphorically speaking.
BRENNAN: Metaphorically.
BOOTH: Welcome home, Bones.
BRENNAN: Thank you! Welcome home, Booth.
(They glance sideways at each other. Fade to black)
END.
Plan: A: Cam; Q: Who's reputation is on the line? A: the team; Q: Who travels overseas to help Cam? A: an unidentified young boy; Q: What is the case about? A: The Forensics Anthropology Unit; Q: What is the name of the team? A: evidence; Q: What do they need to unravel? A: closure; Q: What will the team find for the family of the unknown boy? A: new clues; Q: What did the team find in the lab? Summary: With Cam's reputation and career on the line, the team travels from overseas to help her solve the case of an unidentified young boy. The Forensics Anthropology Unit lost much of its vigor after disbanding to pursue personal ventures, and it will take the collaborative energy and knowledge of the newly reunited team to unravel evidence and find closure for the family of the unknown boy. After unearthing new clues in the lab and making unexpected personal discoveries, the team realizes they belong back in Washington, D.C., in "The Mastodon in the Room" .